Posted by David Kutz on February 08, 2002 at 20:40:25:
In Reply to: Re: Re: Re: Re: Arnold Jacobs posted by Sean Chisham on February 08, 2002 at 10:16:32:
I rarely find myself jumping in on these threads but this one caught my attention for more than several reasons. Looking at the responses from the members of this thread just reinforces my research regarding Mr. Jacobs and how people view him today, and what he was REALLY all about in his day. First of all, the problem with taking a recording and making a judgment based solely on an audiophile is severely flawed. Music, being the “living art” must be experienced live for it to be understood and “truly” experienced. Those who studied with and heard Jacobs live (in any hall on any continent) will have nothing but praise for his sound, interpretation and imagination on what we now know as “standard” material. Talk to any of the before mentioned people; Fedderly, Martin, Pokorny, Cooley, Taylor (etc.) and ask about the sound…an instant smile will cross their faces, and their imaginations will be stirred all over. Pose the questions about interpretation and musicality to them , they will say that there was NO EQUAL. This is yet another reason to get yourselves into the concert halls and hear with your own ears (Live Music IS Best…that is just not the Union motto)
Jacobs lived in a time where the evolution of our specific area of concentration was developing very quickly. People like Bill Bell, Harvey Phillips, Abe Torchinsky, and numerous others all laid a tremendously solid ground for all of us to improve off of. It should not be surprising to the reader that the next generation: Roger Bobo, Mel Culbertson, Bob Tucci, Michael Lind, Warren Deck, Floyd Cooley, Gene Pokorny and so many others digested all of the best of the masters before them, and were able to make sense of that material and become better for it. Then what comes next next? Well, the “new generation” : Jens Bjorn Larsen, Stephane Laberye, Roland Szentpali, Pat Sheridan, Steven Sykes…this will continue, so expect that. And expect that in 10 years that maybe you won’t like Bobo’s solo sound, but unless you have studied with him, or heard him play for you, you cannot expect to “get it”. This is a great time for all musicians to hear some of the best playing EVER…now with the retirement of heavies like Cooley, we only have the recordings to keep us warm at night, and inspire us. But then, someone new comes and you say, “man this guy reminds me of Dennis Miller, or of Pilafian, or Anne Jelle Visser”
...that’s the point, to hear the evolution for yourself. And that is HOW you get better.
Another thing that most people overlook when they are speaking about Jacobs is the fact that although he was a master pedagogue, a real product of a keen interest in science because of a hobby and his own personal obstacles (in his health); Jacobs just loved to play. PLAY PLAY PLAY. He made many statements that he was a real musician and that he really just wanted to work on the expression of music…the product…the Affect of music. Because he took the time to learn first hand about physiology, psychology, and many other areas (look at his library listings on Brian Frederiksen’s site) he was very knowledgeable and was in high demand from many players who had all the problems in the world. This skill, along with his great prowess as a performer (and he was a hell of a guy) drew people to him. If he was still with us today, he would still have something new to tell us.
I think, from doing my own reading and interviews with his students, that he was not unaware of what people thought of him as a player. Even in his mid-career, players were already taking “jabs” at his older style…that is just the way it is. But I believe that this did not really bother him because after all, he performed with one of the best orchestras (and don’t forget his solo, quintet, and chamber music endeavors) in the world and he wanted to always strive for the best that HE could do. He would not really care if you sounded like him when you took lessons; ( there are VERY few is any players that really ever sounded like him then and now) but he wanted you to learn his concepts so that you could live up to your own musical potential. And he loved to show off when he could…it was stimulating for him…we all do it, and it makes sense that this genuine personality did it as well. Michael Jordon shows off, Joe Alessi shows off, that’s the nature of performance. “Showem’ what ya got!” I know that if he was alive and read this thread he would not be disturbed, but I am sure he would wonder why people are not out enjoying a cup of coffee and talking to “live people” or seeing a concert, or whatever.
Agree or disagree, the true concept of “schools” of tuba playing is fading into the distance. (people mentioned Cichowicz’ class at NU where he played us Russian orchestra music performed by Japanese, by Italians, by English…it was a real eye opener. Try it for yourself) We all have our personal preferences. East Coast, West Coast, European…it is all getting pretty close together in the basic concepts. This is in part due to the work of Jacobs, and others. I have a few of my own that I try to imitate every day I play. These include people that are not so famous, some who are very famous, and some who are my piers. The fact is, listen to an audition someday (for tuba or whatever), and there will be some differences in interpretations and musical insight, but the players at a certain level all have to achieve the same results; the three T’s as Rex Martin would say: Tone, Time and sTyle.
Look back (listen back) and learn. And check out what these “older guys” were listening to as well, things will make more sense. For example, listen to the Lessons CD of Marcel Tabuteau and listen for what you like in Jacobs (and other players from that generation) playing. You will find it all right there. Then listen to a new gut, like a Kaenzig, a Martin, and see what you can hear…you may be surprised.
That is just the way I see it (at this moment in time!). All the best,
DK