The first tuba that I owned was a Conn 24J 4-valve BBb. It served me fine in concert band.
But then I ventured into the world of British-type brass bands. For a short time, I played that horn with the Illinois Brass Band. It was early in their history and they tolerated the bell front horn because they really needed a BBb Bass at that time.
The only concert that I played with IBB that year was guest conducted by Michael Mulcahy. Just before the concert, he checked tuning on each individual's horn. When he turned to me--and looked at my big bell-front horn--he just passed on to the next player without hearing a note from the Conn. I felt humiliated.
A couple of years later, I gave the 24J semi-legitimacy by having acquired an upright bell for it, effectively morphing the horn into a 25J. Some younger players would ask, "Is that a 6/4 tuba?" But just as often, I would get kidded about the "trash bin" appearance of the horn with its 24" bell. BrianF, Rex Martin, David Fedderly, and others will remember that I played that horn for Mr. Jacobs in his final Master Class at Northwestern University in the summer of 1998. Oh, that memory is somewhat embarrassing...but Mr. Jacobs was cool about it. In fact, it was he who frequently stated that it didn't matter what equipment you used or, for that matter, where you placed the mouthpiece on your mouth (or your ear, he quipped), as long as it
sounded good.
Subsequently, I sold the 25J to help me pay for my Nirschl 4/4 CC tuba. That horn, plus a more recently acquired Besson 983 bass tuba, serve me well for "straight"/"legit" playing in orchestras, quintets, etc. I also covered the BBb Bass part on my Nirschl in Chicago Brass Band. I love playing both of those horns, but...
the elephant wrote:
I would love to own a big, fat Conn for Dixie work. But I would not use it for anything else most likely.
Recently, I acquired a Conn 20J (forward bell 3-banger). The privileged notes actually play more clearly than the corresponding pitches on my 24J/25J 4-valve tuba. I look forward to every opportunity to play Dixie/trad jazz engagements because this big beast speaks so easily and is so much fun to play. The members of every Dixie band with which I've played have expressed a
preference for the Conn 20J for that genre of music. Indeed, I don't use the 20J with any other ensembles.
enigma asked:
To add another question then, for anyone with a horn with both upright AND front bells:
1). What are the playing differences?
2). Do conductors or band/orchestra members care??
3). Do you go to stereotype and reserve the forward bell for outside gigs?
1. The 20J does speak very easily. But its tone color is not appropriate for other types of music besides Dixie/trad jazz. The Nirschl CC and the Besson 983 Eb offer much more control of tone color, dynamics, articulation, etc. to match the ensembles and musical requirements. For instance, I couldn't even imagine playing something like
Ein Heldenleben with a big bell-front in this day and age with many more fine concert tubas available than what were available in William Bell's day.
2. See my story above re: Michael Mulcahy.
3. It's not exclusively for outdoor performances. I use the 20J for indoor Dixie/trad jazz gigs and it fits in well.
