Yamaha York?

[Ken Herrick]

Hi All, does anyone know the best way to go about tracking down a Yamaha York? A name or something more specific than just the company would be a great help.

Thanks in advance,

S.G.F.

I think it might be time for the TNFJ to come back in and award the prize for "The most innocuous post which caused the most heated debate of the year" to the OP of this thread.

If one picks through the ashes of various replies one can find several bits of fact and some "truths". It is a bit of a shame that things get so viciously personal.

Maybe the OP just wanted to see one and have a quick try so he could form some opinion as to the quality of the instrument.

As for Jake and the Yorks; yes, they worked for him, he played very well on them (as well as many other instruments I heard him play) and they (especially No 1) were a part of the "Jacobs sound" which was in turn a part of the "CSO sound". At one time, another famous player, from Boston, named Chester, who had a different sound and played in an orchestra with a different sound to the CSO described the York as "an old man's horn".

Many players around the world have tried to emulate Jake's sound - with varying degrees of success. For many a "duplicate" instrument would be considered an absolute necessity for one to do so, and are willing and able to pay the price for the closest available copy. It is their right/privilege to do so and the maker(s) of such instruments have the right to charge whatever price they want and to limit availability of such instruments to those they feel will best present their product.

There are many who would argue against the "big" sounds of some of todays orchestras and it at times seems there has been some pointless contest to see which brass section can do the best job of sending the rest of the orchestra deaf at the expense of musicality.

I often wonder why so many young players become obsessed with shaking the walls when all they are really doing is making a lot of horrendous noise with instruments they can not manage. Oh yes, have a 6/4 CC for that orchestra job they will never get and while they are at it buy an F so they can manage an instrument well enough to play a "solo" - poorly.

I had the "privilege' of regularly playing on the first Yamaha CC - a prototype cut BBb at Shilkes in 1970. I didn't esecially like it and for some years regarded yamaha tubas as what they were originally intended - reasonable priced student instruments. I think it fair to say yamaha has come a long way since then.

I remember when Jake was preparing the Vaughn Williams for performance on a pops concert with Morton Gould conducting. At the time he also had the smaller York which Ron Bishop and, later, others have owned. Jake admitted it was "less work" and I and others, including Bud Herseth agreed that that he sounded "better" on it. in the end though the BIG York produced the "Jake" sound so that is what he used. I've always felt it would have been better to use the smaller instrument.

If I had $35,000 to spend on one or more tubas right now i doubt that a 6/4 York copy would be the pick, namely because unless I was playing a gig such as CSO I wouldn't need it and I doubt many others here would either. BUT, if that is what you want - go for it.

[TexTuba]

Before this gets locked...

I can't believe y'all got taken in by a troll.

Did we? Maybe we were just too amused to leave him alone. It was pretty entertaining.

Maybe not YOU, but some DID.

[THE TUBA]

-
BTW, I played a YamaYork at a tuba conference a couple summers ago and thought it was quite splendid. If the OP has the funds needed and the will-power to get on "the list," then all power to him (or her).

[Wyvern]

It is interesting how often we read on here about most players not needing a 6/4, but the attraction of these big tubas is their incredible broad tone which can improve the sound of a band, or orchestra of medium size, as well as large through providing a solid foundation. Yes, they can put out a lot of volume, but in my experience decibels is not determined by tuba size - a 4/4 may even be played louder and the tone is certainly more in the audience face than the surround sound of a 6/4.

I play my Neptune in an 85 piece orchestra and 50 piece wind band, but also find it works well with groups of half that size. It just requires good musicianship and control. However, for the latter reason, I would say 6/4 are for the experienced player, rather than the beginner.

Back to post subject, who is to say the original poster is not an established professional seeking a YamaYork? And for the price of these tubas - no one is forced to buy, so the manufacture can charge what they think it's worth and what buyers are will-in to pay. If the player uses for a lifetime, that 35k may only equate to 1k per year - really not outrageous for a professional tool!

[J.c. Sherman]

Ken, I think you have a tiny error - I'm pretty certain Bishop never owned a York. He even jokes about how Jake didn't really like his Alex, and made him try the York to point out he sounded better on it, and Bishop would return to cleveland, Alex still safely his choice. The only American instrument I think he's had in edcades is a tiny Eb for travel.

And this may be anecdotal, but I was under the impression that Jake cut the VW concerto a day earlier than planned, and didn't have his VW horn available when the session movet to record it. So he simply played what he had.

Any Bishop students ever hear of him playing American?

Neptune, BTW, you're right... a 6/4 can be played in a smaller orchestra, if you have the control and desire. But there are not many who buy these and then practice at a wisper. And you're also right a 3/4 can blow the roof off (Canadian Brass' first Christmas album proved that!).

Truly, every tubist should do pit time with small groups with "the hand" 3 feet from their face. So few know how to play quietly

J.c.S. (who thinks $35K could actually buy him the instruments he really wants!)

[Ken Herrick]

The "smaller' York I refer to has since been owned by Jonathan baker of New Zealand and I believe is now owned by Thomas Allely of Brisbane, Aust. (Queensland Orchestra). I was trying to convice Jake to sell it to me but he told me he had sold it to Ron.

The VW performance with Gould (January 68) was not recorded, except possibly for radio broadcast of the concert. Jake was rather miffed that it only rated "pops" status.

I am fully agreed that a big horn can work well in a small group - if handled right. I used my King for everything from Quintet and chamber orchestra to full symphony orchestra - and most things in between.I often got comments about how it added to the sound of the various groups.

[Wes Krygsman]

If anyone has a Yamayork and is going to be in the NYC area ever, please contact me. I have a Nirschl York and would like to compare the two if possible.