Making the Trombone Cool for 54 Years an Interview with James Pankow CONTENTS 23 46
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July 2021 / Volume 49, Number 3 / $11.00 Alan Raph – page 23 INTERNATIONAL TROMBONE ASSOCIATION JOURNAL JULY 2021 / VOLUME 49, NUMBER 3 JOURNAL JULY TROMBONE ASSOCIATION INTERNATIONAL INTERNATIONAL ASSOCIATION JOURNAL THE QUARTERLY PUBLICATION OF THE ITA Making the Trombone Cool for 54 Years An Interview with James Pankow CONTENTS 23 46 31 FEATURES INTERNATIONAL 23 An Interview with Alan Raph by Jack Schatz TROMBONE 31 Clay Smith: Trombonist on the Chautauqua Trail, ASSOCIATION JOURNAL 1904–1930 Volume 49, Number 3 / July 2021 by Timothy Howe The International Trombone Association is Dedicated 46 Making the Trombone Cool for 54 Years: to the Artistic Advancement of Trombone Teaching, An Interview with James Pankow Performance, and Literature. by Kevin M. McManus ON THE COVER Jimmy Pankow. Photo by Peter Pardini DEPARTMENTS CONNECT WITH THE ITA 6 President’s Column – Jacques Mauger www.facebook.com/internationaltromboneassociation www.trombone.net, [email protected] 10 General News – Dr. Taylor Hughey Share an event: www.trombone.net/events 14 Orchestral Sectional – Megumi Kanda and Matt Walley Share your trombone news: www.trombone.net/news 28 Wellness Note – Amelia Rosenberger The International Trombone Association Journal is the official publication of the International Trombone 39 Pedagogy Corner – Josh Bynum Association. ISSN 0145-3513. The ideas and opinions 58 Philosophies, Practices, and Pedagogies of Performing expressed in this publication are those of the individual Professionals — M. Dee Stewart writers and are not necessarily those of the Internation- al Trombone Association. ©2021 by the International 63 Literature – Karl Hinterbichler Trombone Association. All rights reserved. 66 Literature Reviews – Mike Hall and David Stern The International Trombone Association, PO Box 26147, Richmond, VA 23260 USA 76 Audio/Video Reviews – Micah Everett Phone: 1-888-236-6241, Fax: 1-888-236-6242 88 Advertiser Index Send us your thoughts on the Journal: Back Cover Nuggets of Wisdom – Pedagogy Advisory Council [email protected] 2 www.trombone.net 46 www.trombone.net Making the Trombone Cool for 54 Years An Interview with James Pankow by Kevin M. McManus Photo © wlpearce.com International Trombone Association Journal 47 James Pankow is among the most influential and multi- talented musicians of all time. A founding member of the rock band Chicago, Jim has written and arranged songs that have become the soundtrack of our lives. Chicago has recorded more than thirty-seven albums, sold over 100 million units worldwide, with twenty-three gold, ten platinum, and eight multi-platinum albums. Chicago was inducted into the Grammy Hall of Fame in 2014 and the Rock and Roll Hall of Fame in 2016. Jimmy Pankow is the recipient of the International Trombone Association’s 2020 Lifetime Achievement Award. Kevin: How did you become a trombonist? Kevin: Which records did you play along with? Jimmy: I’ll be honest with you; I was not focused on Jimmy: My father brought home a J.J. Johnson record that becoming a trombonist. I wanted to play the drums, blew me away! It was the first time I heard a trombone guitar, or saxophone. I wanted to be cool with my peers! player that was modern and cool. He had great legato, My parents took me to the tryouts in the church basement tonguing, and a mellow sound. I’m going, “This guy is hip!” and they had all the instruments laid out on tables. I was I took that record to the basement and shedded to it. One standing in line to try the drum kit with about fifty other day, I nailed it to the point where I could play along with kids. My parents didn’t have all day, so with the help of the J.J. Certainly not as amazing as J.J.’s technique, but I could band director, they approached me with the suggestion of pretty much copy him. When my father came home from trying out a less popular instrument. work, I said, “Dad, I have a surprise There was nobody, I repeat, there for you.” I brought the J.J. Johnson was nobody standing at the table album upstairs and my dad put in with the trombone! And they said, on the Victrola in the living room. I “What about that instrument over played along with J.J. note-for-note there?” And I said, “That thing? I’m and my dad started welling up. not playing that sewer pipe—that ain’t cool!” But might makes right, Kevin: Tell me about your dad. and the three of them persuaded me Jimmy: My dad was my first true to try it out and take it home. mentor. He had played piano for about twelve years. But he burnt Kevin: So when did you develop your out because his teacher was only connection with the trombone? interested in playing Beethoven, Jimmy: I didn’t really start bonding Mozart, or Bartok, perfectly. His with the trombone until I got to Norte Dame High School Jazz Ensemble, teacher was too consumed in making The Melodons, circa 1961. Photo from the the point where the slide and slide Pankow Family Archives. himself and his students look good technique became interesting. I in recitals. started realizing that I could play the same notes in different My father would get his hands slapped any time he positions and that my arm didn’t have to be so busy. I got to tried to stretch out. It was discipline, discipline, discipline— the critical point where I would hear something in my head no fun allowed! So my dad said, “This isn’t any fun, man! and I’d be able to reproduce it on the horn. I realize that I If I can’t have fun, I’m done.” So he moved away from it, had a gift called “an ear”—which became very important, tragically, because of his gift, his ears. His ears were huge! if not critical, in my musical growth. I didn’t need notes on Huge! My dad could have been a giant in music but he was paper, I could simply hear something and reproduce it on slapped down at every opportunity and it ruined him. But the horn. When I could play along with records is when it he figured if he couldn’t enjoy that journey then maybe he started getting fun. could celebrate mine. And it 48 www.trombone.net An Interview with James Pankow inspired me to take advantage of the opportunity that he started playing squarely or didn’t swing, he’d say, “Hey! If never had a chance to enjoy. you can’t swing, you’re out of here!” I mean, it was a four- So, back to the story. After dinner every night, he’d year program that most definitely planted the seeds and come home from work and the two of us would go into launched me into higher learning on the horn, music, and the living room and he’d play records for me. One night it my career. I will always be grateful for Father Wiskirchen. would be Count Basie. Another night it would be Woody Herman. Yet another night it would be Stan Kenton. So we Kevin: Who were your trombone heroes? had a musicology session after dinner every night. And he’d Jimmy: There are a lot of players that have influenced ask me, “Do you hear this? Do you hear that? Do you hear me over the years. I love Carl Fontana; he’s amazing! what the trombones are doing? Do you hear how they’re Subconsciously, I’ve probably emulated his style even playing with the saxes, underneath the trumpet melody? more than J.J.’s. I have a kinship technically with Fontana’s Do you hear how that synergy is working? Do you hear approach. Others were Frank Rosolino, Urbie Green, how they’re complimenting each other?” Through those Kai Winding, Bill Watrous, Dick Nash, Slyde Hyde, Bob listening sessions, he taught me many ways to hear music. McChesney, and Steve Wiest. Kevin: Did your father get to hear you perform as a Kevin: I’ve heard that Harold Betters was one of your professional? influences. Is that true? Jimmy: Yes! He enjoyed my success Jimmy: Yeah, Harold Betters! He’s all the way into the highest points from Pittsburgh. He was essentially of my career. He got to see the a jazz trombonist who had a Grammy awards and the Gold crossover hit with “Do Anything records. He was so proud of me You Wanna.” In fact, when we were when the band made it. I think he in Pittsburgh in the ’70s, Harold may have been more excited than was showcasing across the river at I was. Before we recorded our first City Center. We were playing at the album, we were playing nightclubs Civic Arena and had a night off. So in Chicago. My dad would come to we jumped in a cab and went over to the clubs before he went home from the club to hear him. He was a great work, just to check us out. The guys entertainer and played his butt off! in the band at first were asking, He was probably in his late thirties “Who is that guy? He’s mouthing or early forties at that time. He was every note we’re playing and he’s a bone player that had the vision to boogieing on the bar stool. I mean, Father George Wiskirchen. Photo courtesy of the break away from traditional jazz the guy is going nuts. Who is that Notre Dame University Archives and do his own thing—he stepped guy?” And I said, “That’s my dad.” out.