Romm was a musical child prodigy, who by age 18, was established as a veteran freelance trumpeter, performing with the Los Angles Philharmonic Orchestra.
He earned his bachelor's and master's degrees at the Juilliard School of Music. He played with the New York Philharmonic Orchestra and Radio City Music Hall Symphony. He joined the famed Canadian Brass in 1971, and retired after 4,000 concerts, numerous recordings and TV shows.

There was a bit of quite drama with Romm's first musical introduction, Amazing Grace. Off stage, behind the scenes the melodious notes of the song seemed to flow gently from the trumpet, filling the room with an incredible purity of soft musical sound and the stillness of the audience gave emphasis to the effect.
The two artists, holding hands, stepped onto the stage and gave a brief history of each composition they had selected for their concert.
The symposium of music was rich in diversity and entertainment, and an opportunity for the husband and wife to exhibit their talents and skills with their musical translations and the trumpeter's triple tongue and throaty sounds technique.
With the pure, true tones of his trumpet, Romm was able to create the special mood intended by the composer. Ravel's Pavane was energetic and passionate, with Avis Romm's piano accompaniment giving emphasis and union.
Chopin's Preludes and Debussy's Clair De Lune revealed the sweetness of tone of the trumpet, under the nimble fingers and breath control of Romm. His rendition of Beethoven's Pathetique movement was especially tender with its languorous prolonged notes. Avis Romm offered contrast with Chopin's beloved Nocturne in E Flat Major. Her fingers were a study in movement as they raced across the piano keys, swiftly, surely and powerful.

Comic relief was provided when Romm appeared in a thick, curly black wig and with a red scarf around his waist, to assume the roles of opera divas, with his trumpet and Avis as a full orchestra.
The translations of One Fine Day from Madame Butterfly and La Traviata's Violetta were
further examples of the trumpet's versatility.

Ronald Romm closed the concert with Gershwin's stirring, nostalgic Rhapsody in Blue. The couple will be remembered for the beauty of their music, for their gifted talents, for the good humor with which they laced the program, and for they obvious affection for each other.

But perhaps most of all, what may be best remembered will be the prolonged note of the trumpet that signaled the ending of a piece of music, a note that touched, clear, pure and true, that lingered and drifted into a silence that yet seemed to hold the sound in its stillness, and a grateful audience rose to its feet in tribute.