My favorite orchestral tubist would have to be Gene Pokorny. His sound is, IMO, the ideal orchestral tubist's sound. He ideas about playing (evident by listening to his orchestral excerpts CD) are great and are often what I think of when playing in the orchestra. I model my sound of him when playing contra-bass tuba. I had the opportunity to have a lesson with him just a few weeks ago and I learned more in that lesson about playing in the orchestra than I would have in 5 lessons with my usual teacher.
As far as soloists go I really like Roger Bobo ( I know he was mainly an orchestral player but his solo album's are just wonderful). His blogs are another reason I like him, it's great to learn about the musician behind the music. I model my F tuba sound after him.
Bob Kolada wrote:Marty Erickson
1. He plays Eb!
2. He can do unbelievable things- I saw him play an Eb scale (starting on the 2nd partial) with no valves at all.
3. He is a super nice guy.
I have no strong feelings on Eb tubas, but I completely agree that Prof. Erickson is a swell player and an even more swell guy. In my view, the greatest teacher of the tuba I've ever met.
My favorite, though, is Dr. Eli Newberger because his career(s) demonstrate(s) that it is possible to pursue multiple disciplines at a high level - an inspiration to anyone who wants to be a professional-level musician while still having a personal and professional life beyond the tuba. I wish more music professors and music students could understand this type of internal motivation.
Bobo - unbelievable musician, great sound, solid performer, teacher of a whole generation of tubists
Pokorny - greatest living orchestral tubist. The sound, the technique, quintessential orchestral tubist
Sheridan - greatest living soloist. Great musician, great soloist, unerring technique, range out the wazoo and so much FUN to listen to.
I am going to mention a couple that haven't been mentioned but surely should be in my opinion. One of the players I have heard a lot the last couple years is Steve Campbell in the Minnesota Orchestra and he is simply fantastic. He has a HUGE sound that provides such a foundation for the big chords that I haven't heard from any other tuba player (this could have A LOT to do with the Hall they play in too, but he is definately a cut above the player that used to be in there).
Chuck Daellenbach was probably one of the reasons I started playing the tuba. He is such a nice and funny guy and is obviously a great musician. He also breaks the myth that all tuba players are fat
Sam Pilafian. His two CD's - Traveling Light and Making Whoopee are to me two of the best examples of tuba leading a small ensemble. Some of his arrangements and recordings with the Empire Brass Quintet are also outstanding, particularly the early jazz - struts, rags and stomps.
MISERICORDE, n.
A dagger which in mediaeval warfare was used by the foot soldier to remind an unhorsed knight that he was mortal.
- Devil's Dictionary - Ambrose Bierce
While I agree with many of the names mentioned (Eli and Bob Stewart, especially) my current "most favorites" of tubists I have personally seen in action are Marcus Rojas and Matt Perrine - for their inventiveness, energetic performances in a wide variety of musical styles, and solos that take the instrument to places few others have ventured. Nat Mcintosh is right up there, for most of the same reasons.
(maybe you can guess I am not a super fan of "classical" or "academic" performers - maybe flashy solos of high speed "Flight of the Bumblebee" are dazzling and good in their own way, but I prefer a tubist who can work in an ensemble, creating new music every night - providing the rhythmic root, or taking the dominant musical position sometimes, depending on what the entire group is doing... )
Last edited by David Richoux on Sat Jun 19, 2010 3:36 pm, edited 2 times in total.
Chuck Jackson wrote:Whoever played tuba for Klemperer with the Philharmonia and New Philharmonia.
Chuck
John "Tug" Wilson would be that player. Amazing sound and presence! I've been hunting for the 1928 Till Eulenspiegel recording you mentioned with the Bavarian State Orchestra. Can't wait to hear that!
ZNC Dandy wrote:John "Tug" Wilson would be that player. Amazing sound and presence! I've been hunting for the 1928 Till Eulenspiegel recording you mentioned with the Bavarian State Orchestra. Can't wait to hear that!
THANK YOU for the information!!! And while I am usually johnny-on-the-spot with cd references, I apologize for not having the info on the 1928 recording. I simply can't find the cd in my collection. Couple of more places to look. I know for a fact it wasn't a NAXOS Historical release. HOWEVER, if one likes Beethoven, Weingartner's entry from the 30's re-released on that label is the best Beethoven 9 in my collection.
I wonder what horn Mr. Wilson played on. I assume it was an EEb, but Johnathon has opined that Fletcher was the first Brit to use the EEb in an orchestral setting. If this guy was using an F he was SUPERMAN.
By far Tim Buzbee. I love his view on playing, all emotion, and I just love how edgy his playing is. He doesn't care if he messes up, he goes balls to the wall every time he plays. He be me hero.
Having grown up in Chicago and clocked in hundreds of hours listening to the CSO and any other brass events, I go with Rex Martin. I have been able to hear Rex off and on from the mid 80's until just recently. He is always so incredibly musical. Whether he was sitting in the CSO or just playing in his office at Northwestern, the understanding of exactly how to get his horn to play what he hears internally is crazy. I'm sure when you combine his natural talents with teaching from Jake and Ed Livingston, you are going to have something special.
Paul Weissenborn
St. Joseph Symphony Orchestra (MO)
Spirit of Independence Band
SJSO Quintet
Alex 163 CC
YEB 321S
One HUGE vote for Craig Knox. His sound is incredibly smooth, even, and colorful whether he is playing in the Pittsburgh Symphony or with the Center City Brass Quintet. Not to mention, he is INCREDIBLY musical. He could pick up ANY tuba and make it sound like it was made especially for him.
Tyler Schwirian
MW 5450 "Thor"/Baer MMVI
MW 2250/Baer MMVI f
Schwirian.Tyler wrote:One HUGE vote for Craig Knox. His sound is incredibly smooth, even, and colorful whether he is playing in the Pittsburgh Symphony or with the Center City Brass Quintet. Not to mention, he is INCREDIBLY musical. He could pick up ANY tuba and make it sound like it was made especially for him.
Agreed.. It's incredibly he wasn't mentioned until the 4th page of this thread
Try teaching a Los Angeles junior high school band all day, showing up L-A-T-E for a John Williams recording session (without the usual hot dog lunch), and playing this on a Mirafone 185 CC tuba (on the 1st take -- sight reading), with absolutely no warmup.
Miraphone 291 CC
Yorkbrunner CC
Eastman 632 CC
Mack Brass 421 CC
YFB-822 F
YFB-821 F
YFB-621 F
PT-10 F Clone
MackMini F
Willson 3050 Bb
Meinl Weston 451S euphonium
And countless trumpets, trombones, guitars, and every other instrument under the sun…
All of the modern young tubists you all have named here are certainly worthy of admiration for their skill and dedication.
I would add only this: Every modern tubist owes a debt of gratitude to Harvey Phillips for opening the doors through which they walk today.
No..wait...it's stronger than that...Harvey battered down thick concrete walls, then built the door through which modern tubists walk today.
David Baker has a saying that applies so well to Harvey: Baker talks often, with admiration, of people who "transform the aesthetic" in their field. That is such a fitting description of Harvey Phillips' life and work.
So...tuba and euphonium players...next time you play a well-written tuba or euphonium solo or get a nice gig...please remember to say "Thanks, Harvey!"
In 1981 Warren Deck came to the School of Music in Ann Arbor. He played by himself in the same room that the bands and orchestras used, and it was unforgettable. I had the pleasure of seeing Roger Bobo and John Fletcher in similar settings, two my favorites. Mr. Deck, however, made a sound that really transcended what I ever thought i might hear.
Listening to Floyd's playing on "A Schumann Fantasy" is what made me fall madly in love with the tuba. His is the sound I hear in my head when I think of solo tuba playing. The sound of so many soloists is tinny and empty to my ear, but Floyd's isn't.
Michael Lind just makes playing the tuba sound easy. His sound is so smooth and (seemingly) effortless.
Ryan Rhodes
Springfield, MO
Big Mouth Brass J-445LQ F
JinBao 600S F
1919 Holton Eb
1964 Olds O-97 BBb sousaphone
"When the power of love overcomes the love of power the world will know peace." - Jimi Hendrix
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