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The New York Club NEWSLETTER NEWSLETTER November 2006 : FLUTE/ VIRTUOSO interview by Ed Joffe ew Tabackin has been a vital part of the New York music scene since 1965. A virtuoso on both the flute and , he L has enjoyed a diverse career as a sideman working with some of the great jazz legends (, Shelley Manne, , , Attila Zoller); a featured soloist in a variety of big bands (Maynard Fer- guson, , , , & Mel Lewis, , , and ); a studio musician (’s Tonight Show Band and the Dick Cavett Show Orchestra); and as a leader of his own jazz groups. Beginning in the 1980s, he won both the Down Beat critics’ and readers’ poll awards as top jazz flutist. He continues to tour the world extensively as a soloist, perform- ing in both clubs and jazz festivals. His biogra- phy, discography, and upcoming performances can be viewed on his website, www.lewtabackin.com. I interviewed Lew on a mid-August Satur- day at the Upper West Side townhouse he shares with his wife, the pianist/composer/ arranger Toshiko Akiyoshi.

ED JOFFE: When did you start playing flute? In Concert LEW TABACKIN: I started when I was about 12. The Philadelphia school sys- Lew Tabackin, flute/tenor saxophone tem would lend people instruments Boris Kozlov, bass and since I was in the lower economic Mark Taylor, drums strata, it was important. I didn’t know anything about flute and for some rea- Sunday, November 19, 2006, 5:30 pm son, I wanted a —at least I Yamaha Salon, 689 Fifth Avenue knew what that was. However, the (entrance between Fifth and Madison on 54th Street) (Cont’d on page 4) Desert Lady ...... Lew Tabackin (b. 1940) IN THIS ISSUE Sunset and The Mocking Bird ...... (1899–1874) Lew Tabackin: Jazz Flute/ Gypsy Without a Song ...... Saxophone Virtuoso ...... 1 (1900–1984) by Ed Joffe From the President ...... 2 Wise One ...... Old (1926–1967) Member Profile ...... 3 Dancing Maja ...... Lew Tabackin Dirk Wels Nuage ...... Django Reinhardt Announcements (1910–1953) Flute Happenings...... 3 Henry Brant CD Released ...... 4 Program subject to change. Yamaha Pre-Concert Invitation ...... 4 NYFC NOV06.4pp 10/23/06 5:55 PM Page 2

2 — NYFC Newsletter Old Flutes by David Wechsler play an old Powell professionally. Not from the ’70s or THE NEW YORK FLUTE CLUB INC. ’60s, but from 1945. Despite what you may read or hear, intonation problems are nonexistent . . . but that is a 2006–2007 I topic for another column. I love the sound. All of my form- Board of Directors ative teachers played old Powells. In the USA, from about David Wechsler, President 1927 to 1973 or so, if you were a professional musician who Jayn Rosenfeld, First Vice President From the played the flute you had a choice of a Haynes (a two-year Ardith Bondi, Second Vice President President Jeanne Wilson, Recording Secretary waiting list) or a Powell (a ten-year waiting list). That was Keith Bonner, Membership Secretary pretty much it, unless you were savvy to any English, Ger- Edward Wolf, Treasurer man or French flutes. Most American flutists took their cues for an instrument Katherine Fink Karla Moe from a big player, or their teachers, many of whom had standing orders with Susan Friedlander Seth Rosenthal Haynes or Powell and were able to expedite a few each year for their students. Svjetlana Kabalin Rie Schmidt Otherwise, you put your name on a list and waited until your order came up. Fred Marcusa Stefani Starin Nancy Toff Finding a pre-owned Haynes or Powell was very rare in those days. In 1973 or so, after Albert Cooper developed his new scale, the Japanese flute manufacturers Advisory Board began exporting here in big quantities; flute clubs and flute fairs started to Jeanne Baxtresser Robert Langevin Gerardo Levy become more prevalent, the flute just seemed to take off big-time. As a result, Marya Martin many old Hayneses and Powells began to appear for sale. Who could have pre- Past Presidents dicted that? Georges Barrère ...... 1920–1944 I have tried many old flutes, looking for what I consider the perfect balance John Wummer ...... 1944–1947 between resistance, sound quality, projection, and overall aesthetic beauty. This is Milton Wittgenstein ...... 1947–1952 Mildred Hunt Wummer ...... 1952–1955 not so easy—not every old flute is a winner. They all sound different. I favor the Frederick Wilkins ...... 1955–1957 600 serial number Powells. Perhaps it’s because World War II was over, or coming Harry H. Moskovitz...... 1957–1960 to a close, and an optimistic, good vibe got infused into the flutes. But the good Paige Brook ...... 1960–1963 Mildred Hunt Wummer ...... 1963–1964 ones just have that thing in the sound. When you find a good one, you savor it. Maurice S. Rosen ...... 1964–1967 It’s addictive! You can’t put it down and the sound gets more alluring. Harry H. Moskovitz ...... 1967–1970 Paige Brook ...... 1970–1973 Many people have speculated about why old flutes sound different from new Eleanor Lawrence ...... 1973–1976 ones. Some think that it is age hardening; others, like Jim Phelan,* think that the Harold Jones ...... 1976– 1979 good old ones (presumably made by the best stringers on their best days) turn Eleanor Lawrence ...... 1979–1982 Paige Brook ...... 1982–1983 out to be the only ones that survive over time. Still others say it is the nature of John Solum ...... 1983–1986 language and the formants of speech that affect our perception of tone. Eleanor Lawrence ...... 1986–1989 Sue Ann Kahn ...... 1989–1992 Undoubtedly, the embouchure holes of the older flutes were not undercut to Nancy Toff ...... 1992–1995 blow as easily. Here are some of my own favorite theories: (1) Flutists and Rie Schmidt ...... 1995–1998 flutemakers benefited from the close proximity of factory and concert hall (both Patricia Spencer...... 1998–2001 Jan Vinci ...... 2001–2002 Haynes and the old Powell factory were within easy walking distance of Sym- Jayn Rosenfeld...... 2002–2005 phony Hall), allowing people to evaluate what worked and what didn’t. (2) The Newsletter stress points at the rings and joints need time to vibrate and relax after a new Katherine Saenger, Editor instrument begins its life (something brass players are acquainted with, and has 115 Underhill Road led some brass makers to freeze new instruments in order to relax the stress Ossining, NY 10562 914-762-8582 points instead of having to play them for 10 years). (3) The player contributes to [email protected] the overall sound of the instrument over time through his/her own aural prefer- Sue Carlson, Layout/Production ence (pages 96–97 in the Rockstro Treatise). And those who remember Harold 789 Westminster Road Bennett will be interested to know he got his homogenization theory from those Brooklyn, NY 11230 same paragraphs . . . 718-258-5325 [email protected] My conclusion? All of these elements are probably responsible for why old flutes sound different from new ones. But one thing is certain: to play an old flute www.nyfluteclub.org one needs a developed, focused embouchure and a steady air stream. You have to Copyright © 2006 by The New York Flute Club Inc. be in shape! They don’t play otherwise. And they get as loud as a new flute, and unless otherwise noted. All rights reserved. project to the back of the hall when that air is whooshing through. So take a big breath and blow. They’ll hear you! ❑

* NYFC Newsletter, April 2006. NYFC NOV06.4pp 10/23/06 5:55 PM Page 3

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FLUTE HAPPENINGS Degrees: University degree in transla- Member tion (German, English, Spanish, French) FREE to current NYFC members, this section lists upcoming per- formances by members; flute-related contests, auditions, and Profile [Humboldt University in Berlin, 1995]; masterclasses organized/sponsored by members; and brief Premier prix de basson [Conservatoire descriptions of members’ new recordings, sheet music, and books. Send submissions to the Newsletter Editor. Dirk Wels de Musique de la Ville de Luxembourg, NYFC member 2001]. NOVEMBER ’06 since 2005 Most notable and/or personally satisfying Tuesday 6:00 pm accomplishment(s): As a musician: after NOV 7 SUE ANN KAHN performing the Employment: Translator at the United one year of bassoon lessons, taking over complete Mozart Flute Quartets in a Nations (written translations from Eng- the second bassoon position in the uni- recital to celebrate the release of the her new recording of the same compositions. lish to German, mainly UN resolutions). versity orchestra where he had previ- ously been playing the flute. Dirk says, • The Union Club, 101 East 69th Street (at Park On Avenue), NYC. Admission is free. Info, call 212- A recent recital/performance: “Learning a second instrument gave me a 675-1932 or email [email protected]. flute/piccolo: performing in the NYFC new perspective on flute playing and Thursday 1:30 pm ensembles concert (May 2006), with the also opened up many new playing NOV Park Avenue Chamber Symphony (June opportunities. It was quite an experience 9 The OMNI Ensemble, with DAVID 2006), and the Greenwich Village WECHSLER, flute, Deborah Sepe, performing same orchestral repertoire cello, Jim Lahti, piano, and guest artist Misa Orchestra (October 2006). On bassoon: (e.g. Haydn’s Creation, Bach’s Christmas Ann Iwama, mezzo soprano, perfoming performing The Barber of Seville and The Oratorio) first on flute, then on bassoon.” Ravel’s Chansons Madecasses, Hindemith’s Marriage of Figaro with Project Opera Studying and living abroad: studying Eight Pieces for solo flute, Debussy’s cello Manhattan (August 2006), and concerts sonata, and Beethoven piano sonatas (No. 28 Spanish in Spain, English in England, in A major and a Jim Lahti transcription of with Astoria Symphony and One World and working in Luxembourg as a transla- No. 15 in D major for flute, cello and piano). Symphony (September 2006). tor at the European Commission while • Performing Arts Center at the College of Staten being a part-time bassoon player. Island, 2800 Victory Boulevard, Staten Island, Career highlight(s): His years (until NY. Admission: $15 general, $10 students/sen- 2000) as an orchestral player in Ger- Favorite practice routines: On flute: iors. Info/reservations, call 718-859-8649 or visit many (student and church orchestras, Since time is very limited, he prefers to www.omniensemble.org. including an orchestral tour to Mexico); practice orchestral excerpts for tech- Saturday 8:00 pm holding the principal bassoon position NOV nique, tone, and expression. Longtime 11 The OMNI Ensemble, with DAVID with the Orchestre de chambre de Lux- favorite: Volière (Aviary) from Carnival WECHSLER, flute, in same program embourg (2001-2005). Solo performance of the Animals (different tempi, legato, as November 9. highlights: Bach’s Suite in B Minor portato, staccato, keeping embouchure • Brooklyn Conservatory of Music, 58 Seventh (flute) with Jena University Orchestra Avenue (corner of Lincoln Place), Brooklyn, NY. relaxed in all registers), also Bach Admission: $15 general, $10 students/seniors. (1997), Vivaldi’s Concerto in E Minor sonatas and repertoire for upcoming Info/reservations, call 718-859-8649 or visit (bassoon) with Luxembourg Conserva- rehearsals and concerts. On bassoon: www.omniensemble.org. tory Student Orchestra (2001), Mozart’s No warm-up, just staccato exercises, Sunday 3:00 pm Sinfonia Concertante (bassoon) in the NOV Mozart Concerto and all the music he 12 FEMMES FOUR , with presence of the Grand Duke of Luxem- gets to play in orchestras and in his AMY ZIEGELBAUM, Helen Rich- bourg with Orchestre de Chambre de Columbia University-based quintet, man, Lauren Ausubel, Anna Povich DeMayor, Luxembourg (2004). SoHa [South of Harlem] Winds. in a program including works by Jeanjean, Guiot, Telemann, Schocker, the New York Current instruments: A 14k gold Haynes Going to concerts and premiere of Leo Kraft’s Partita6 for four Other interests: flutes, and new works by Dan Cooper. flute, A=442 (c. 2005, acquired in May the movies, trying to keep up his for- 2006), a Braun , a Yamaha alto • Christ & St. Stephen’s Church, 120 West 69th eign language skills (French, Italian, Street (between Broadway and Columbus), flute, and a Yamaha bassoon. Russian), reading contemporary novels, NYC. Admission (at the door, no advance ticket fine dining. sales): $15 general, $10 students. Info, call 212- Influential flute teachers: Barbara Hahn 787-2755 or email [email protected]. and Andreas Richter (Germany), Advice for NYFC members: Good tech- María Antonia Rodriguez (Spain). DECEMBER ’06 nique is important, but do not let it Influential bassoon teacher: Jürgen Wednesday 7:00–9:00 pm become a greater priority than tone DEC Gode (Germany). production. Listen to singers and string “The Great Danes,” a Paula Robison 6 masterclass featuring Carl Nielsen’s High school: Friedrich Schiller Gymna- players for new musical ideas on phras- Concerto and Joachim Andersen’s Elegie (Op. sium in Weimar, Germany. ing and expression. 55, No. 1) and Die Blumen (Op. 56, No. 2). • Diller-Quaile School of Music, 24 East 95th Street, NYC. Admission (auditors): $30 general, $15 students. Info, call Heather Holden at 212-369-1484 x26, or email hholden@diller quaile.org. NYFC NOV06.4pp 10/23/06 5:55 PM Page 4

4 — NYFC Newsletter

FLUTE HAPPENINGS Yamaha Artist Services, host for this year’s NYFC concert DECEMBER ’06 season, would like to invite Flute Club members for an Friday 8:00 pm instrument testing session in the 11th floor Band and DEC 8 Flutist MICHAEL PARLOFF will Orchestral Atelier. Attendees will have the opportunity to test perform Ralph Vaughan Williams’s new professional flutes and headjoints and to talk with The Lark Ascending with the Ridgewood Concert Band directed by Christian Wilhjelm. Yamaha flute designer Keisuke Tanaka, who is eager for Also on the program: Barnes’ Variations on a Moravian Hymn, Susato’s Suite from the your input on new design features. Danserye, and Humperdinck’s Evening November 18, 2006, 4:00 pm Prayer and Pantomime. (before the Lew Tabackin concert) • West Side Presbyterian Church, 6 South Mon- roe Street (at West Ridgewood Avenue), Ridge- wood, NJ. Admission: $20 general, $15 seniors, $7 students. Info, visit www.ridgewoodband.org.

HENRY BRANT CD RELEASED

he Club is pleased to announce the Andrew Lolya, Claude Monteux, Harry Tcompletion of its latest CD project: Moskovitz, Murray Panitz, Lois Schaefer, Henry Brant: Music for Massed Flutes, and Kenneth Schmidt. As the composer newly released on the New World* said in his March 2003 NYFC Newsletter label (catalog no. 80636-2). Coordinated interview with Nancy Toff, “[In terms by former NYFC president Jayn Rosen- of] caliber of supporting personnel and feld, this disc showcases leading NYFC preparation, we’ve never had a per- performers, past and present, and one formance equal to that.” of our most important contemporary The Mass in Gregorian Chant for Mul- composers. tiple Flutes (1984) is scored for as many This recording of Angels and Devils flutes as possible with approximately York premiere at the NYFC’s March 2003 (1931) is a re-mastering of the historic twenty percent of the flutes doubling on flute fair, it was envisaged as a quasi-sin- LP released on CRI in 1956, with Fred- piccolo, all playing material provided in ister 70-years-later sequel to Brant’s erick Wilkins as soloist and Henry Brant the Graduale Romanum for masses sung much-performed Angels and Devils. conducting. The assisting artists are a on June 16. Ghosts and Gargoyles (2001) Complete program notes by Paul Taub Who’s Who of mid-20th century New is scored for solo flute (also playing pic- are available on the New World Records York flutists: Samuel Baron, Frances colo and )—played here by website.** Blaisdell, Philip Dunigan, Harold Jones, Robert Aitken—with an octet comprised The Club gratefully acknowledges of , C flutes, alto the generous support of the Aaron Cop- flutes and bass flutes, plus land Fund for Music, which made the a jazz drummer. Heard by project possible. For more information, many of us in its New please visit the Publications, Recordings & Exhibitions page of the NYFC web- site, www.nyfluteclub.org. The CD will Frederick Wilkins was the be for sale at all NYFC events for $15 soloist and Henry Brant (cash or checks only), from online and the conductor in this local music stores, and via the New rehearsal for a January World Records website: www.newworl- 1948 New York perform- drecords.org. ance of Angels and Devils. They recorded it for CRI * New World Records now administers the eight years later. Courtesy CRI, Inc. catalog. Paul Sacher Foundation NYFC NOV06.4pp 10/23/06 5:56 PM Page 5

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Lew Tabackin (cont’d from page 1)

only instrument they had was a flute. They auditioned three people—one girl who couldn’t get any sound at all, and another guy who could get kind of a sound (a lot better than I could), but he didn’t want it. So I got the flute. I had never even seen anyone play flute. Then they gave me a teacher who didn’t know anything about the flute either. It took me years to unlearn all of his stuff. Can you imagine someone playing a flute on a shoulder? It’s hard to do, but that’s what I did! Everything I did was wrong. That’s a lesson— when you start an instrument, make sure you have somebody who knows a little something about it to get you started. Lew Tabackin (center) with bassist Boris Kozlov and drummer Mark Taylor EJ: You grew up in the 1940s–1950s, when Philadelphia had a vibrant jazz EJ: You received a scholarship to the lot, and I tried to develop a concept community and the Philadelphia Philadelphia Conservatory of Music on flute where you play French Orchestra was in its heyday with [B.M. 1962] and were a flute major. Impressionistic solos on top of the William Kincaid. That must have had LT: [That was when] I began to hear supporting material. That became my a great influence on you as you started things. I had started to check out what style. I’m not a good student—more learning more about music and the William Kincaid was doing. I would of a trial-and-error person. I try and flute. stand backstage when the Philadelphia find my own way of doing things. LT: To be honest, I didn’t really learn Orchestra was playing and I could That’s how my flute style evolved. In a anything until I got into high school. I hear his low notes throughout the way, I don’t consider myself a jazz had taken some lessons at the Settle- whole orchestra. It was an amazing flute player. ment Music School in Philly—a place sound. Hardly anyone has gone where you could get inexpensive les- beyond that. While at the conservatory, EJ: Who were your role models in sons. In high school I heard people I studied flute with Kenton Terry—that developing your flute concept? jamming in between orchestra wasn’t very good, my fault. Then LT: The better I got as a flute player, rehearsal and their next classes, as James Pellerite came in [to the conser- the less it worked for playing jazz. The well as after school. I thought it might vatory] and I couldn’t get along with jazz flute concept at the time was an be fun to take a crack at it. So I started his approach, at all. Finally, Murray anti-flute concept—you would play the practicing the flute. I also think Herbie Panitz started to teach there and same licks on the flute that you do on Mann had some kind of a hit around showed me some basic, fundamental the saxophone and get that “coke bot- that time where he tried to play Char- things. He introduced me to the over- tle” sound. I didn’t like it. I listened to lie Parker’s “Blue Suede Shoes”—that tone series and the concept of the jaw the people I wanted to hear play may have given me the courage to try being very relaxed and in motion. I flute—the classical players like Kin- it. So I began playing and I didn’t made a lot of progress—I actually caid, , and Rampal. I know what I was doing. I had no idea started to get a sound. He must have would be inspired by their sounds. about harmony, form, structure—but it thought he was a genius teacher The tenor saxophone has an incredibly felt good. Then I decided at 15 that I because of the amount of progress rich jazz tradition from Coleman wanted to play the tenor saxophone. I made. Hawkins on, so I always tried to be an When I got the tenor that was it. I extension of that tradition. As far as knew exactly how I wanted to EJ: You, along with Joe Farrell and jazz flute playing, I don’t think we sound—just like [a famous , were all classical flute have a real tradition. The closest we saxophonist-composer-arranger who majors in college. How did this type of come to a tradition is [leg- gained fame as part of the Woody Her- study influence your development as a endary saxophonist/flutist who gained man saxophone section in the late jazz flutist? international acclaim in the 1950s for 1940s]. It took me three or four hours LT: I eventually decided to move to his saxophone and flute solos as part to approximate a sound that was rep- New York—that’s where the real con- of the saxophone section]. resentative. All of a sudden music servatory is, where you learn to play became important. jazz. I practiced real hard, listened a (Cont’d on page 6) NYFC NOV06.4pp 10/23/06 5:56 PM Page 6

6 — NYFC Newsletter

Lew Tabackin (cont’d from page 5) Jimmy Walker [ freelance flutist and former principal of the Los Angeles He plays with integrity and elegance. I Philharmonic] came to one of have also listened to James Moody my gigs at Birdland years ago. execute music—his way of I asked him for a quick warm- articulating is a special thing. Hubert up exercise that I could use Laws played some great things from a when I’m on the road travel- flute point-of-view and a technical ing without much time to point-of-view. Unfortunately, most of practice. He showed me a the other guys are pretty sad. I don’t substitute high F fingering know what they’re trying to do. My that can be used when going desert island recordings would be to an altissimo high D finger- more “legit” flute players. I know I ing. This interval is to be might disillusion some readers. played legato, softly and repeated three times. That’s EJ: If there was a principal influence supposed to do it! It’s actually on your jazz flute playing, was it helpful. Frank Wess? I also try to make sure my LT: Not really. With Frank it was more breathing technique is correct. of an appreciation and admiration that Sometimes, I have to depend remains until this day. My approach is on my breathing, especially so different. I don’t really have an when playing the saxophone influence in a jazz sense. I evolved, for real hard for 20 to 30 minutes better or worse, in a very personal and then having to pick up the way. flute. The sound is not going to be where you want it to be, EJ: How do you balance practicing so the first thing is never to LT: I never practiced any of those tech- and performing on two instruments panic. Let your air do the work until niques in a formal way—like the Robert whose embouchure concepts are very the feeling [in the lips] starts to come Dick approach. I let everything happen, different? back. Air is a life force and I try to let it be a real organic experience. If I LT: I choose material carefully so that make it all a part of the music. want to create some kind of a throat it creates a totally different aura when sound or a multiphonic sound, I let I switch instruments. I don’t play the EJ: What are you currently focusing on everything come out. The performance as much I do the in your practice? thing evolved through Toshiko’s writ- saxophone, but I try to make an LT: Pitch factors drive me nuts ing—her first big cross-cultural piece, important statement on it when I do because I can’t always put it where I Kogan, has a big flute solo in the mid- play. It’s really difficult to maintain want to. In fact, I’m really working dle of the piece and I tried to play it both instruments. What I do is to prac- hard on it. It’s an ongoing problem. with a shakuhachi effect [a breathy, tice the flute first. I’ll never practice the ethereal sound with glissandi/pitch slid- saxophone before flute. EJ: Has your performing on saxophone ing between notes]. I love the sound of aided your flute playing? the shakuhachi, but every time I try to EJ: What exercises do you employ as LT: The flute really helps the saxo- play it, it ruins my flute embouchure. part of your practicing? phone. Everyone always talks about Anyway, I utilize that effect in my flute LT: Basically, I have a routine where I the clarinet helping the saxophone playing. At first I was really self-con- do lip placements that enable me to since it’s traditional to go from clarinet scious when we’d go to play in , find where the mouth-hole is located. to saxophone. To me, the flute is bet- but the people really responded and Then I do some Moyse exercises ter since the way you use the air on felt an empathy with what I was trying descending to the bottom of the flute, both is very similar, at least to the to accomplish. I even found sometimes play the overtone series, and then tenor saxophone. When you get used that I was accompanying myself with scales in different positions. I’m a to pumping air through a flute, it really foot stomps. sound-oriented person; it dictates how makes the saxophone much easier. I play on either of my instruments. Once in a while you really get it right EJ: What are the problems you have When I’m sounding good, I can actu- and it keeps you going. encountered when playing flute with a ally play; when my sound is not rhythm section? What microphones happening, no matter how much I EJ: What were the musical influences and sound systems do you use? practice, I can’t execute and I’m that led you to make use of extended LT: I don’t know much about micro- uninspired. techniques in your flute playing? phones. Sometimes I have to use NYFC NOV06.4pp 10/23/06 5:56 PM Page 7

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them. Ideally, the mike shouldn’t be band around the time I moved to New context, you have a chance to create that close. My last recording was a York and wrote a great deal of music your own tradition. live recording and we didn’t use any for me to play on flute. I’ve also done [individual] microphones other than a some pretty good stuff with the Metro- EJ: Can you talk a little about the stereo mike. I just pumped air. Even if pole Orchestra from the Netherlands— music we can expect to hear at your you’re playing with a microphone you they have some pretty good writers November Flute Club concert? don’t have to play like you’re pander- there. I think Toshiko was the first one LT: We’ll probably do Desert Lady, an ing to it. People can really hear if to really expand the woodwind writing original composition of mine. There’s you’re playing with conviction or just in jazz music. I haven’t played in any not much happening harmonically, so utilizing the electronics and moving other situations that were as interesting it gives me a chance to develop it your fingers. People should think as what she did. Again, I tend to listen melodically and there’s a large flute about getting away from being a to other types of music such as the cadenza in the middle. I’m also think- microphone player. In jazz, the reason flute music by [Krzysztof] Penderecki ing of doing my adaptation of John people sound so wimpy on the flute and [Toru] Takemitsu. Coltrane’s Wise One where I can get is because they don’t put enough into into a Zen-approach. I’ve been work- it. Your job is to make the lower EJ: Do you think the standards of jazz ing on a way to do Duke Ellington’s notes stronger and control the higher flute playing have improved in recent Sunset of a Mockingbird so I can do notes so that there’s a balance decades? some bird-calls, quasi-Messiaen. Boris, between them. There’s a lot of great LT: There was a period where flute in Mark and I are now also developing a execution today but I miss the inten- general was hot thirty years ago. way to do Django Reinhardt’s Nuage. sity and the dynamics. When I play Rampal was king, Hubert Laws made I’ll try to come up with something not the flute, I want to hear the whole a lot of records, then Jimmy Galway too offensive on the tenor since David thing vibrating, ready to explode in came on the scene, and there was a [Wechsler] has asked me to also play my hands. flute renaissance that has sort of died some saxophone. out. As far as jazz flute players, I EJ: Obviously you are aware that most don’t really hear too many of them. I EJ: Can you summarize your feelings people who do play flute with a rhythm know the doubling thing is kind of about how your career has evolved? section have to use a microphone. fading out. A lot of the jazz guys LT: Basically I’m a classic amateur flute LT: It’s quite easy for me to project don’t want to deal with it. They just player because I just play the instru- with my trio unless it’s a bad acousti- don’t deal with it. I just did an over- ment on my own terms. Every day is cal environment. My drummer [Mark dub for a new an adventure with the flute—it’s Taylor] plays soft if he has to and the album. They had some guys playing always different. I’m fortunate in that I bass player [Boris Kozlov] doesn’t use some flute stuff in the ensemble and can pick it up and play it the way I an amp, or very little amplification it was pretty sad. I think there are a want to play it. I feel it’s a great lux- when he does. Sometimes piano play- lot of great classical flute players ury to have, although quite difficult to ers tend to become one dimensional today—, Patrick Gal- maintain, considering my approach to as far as volume is concerned. lois, etc. I listen to these players and the tenor saxophone. ❑ Playing without a microphone their sound inspires me, so when I tends to slow you down. When you play I have a little boost to get into have to blow a lot of air, your fingers my flute world. I do the same with don’t move as fast for some reason. I the tenor saxophone—when I lose Ed Joff e, an active freelancer on sax- just put it [the microphone] in front of my sound I put on a good Don Byas ophone, clarinet, and flute, has stud- the lip plate, but not too close to it. If record and [I can get it back in] about ied with Thomas Nyfenger, Paul you have a monitor system, you tend two minutes. Dunkel, Michael Parloff, and Keith to play less forcefully. A lot of people Underwood. He an associate professor gear their whole approach to utiliza- EJ: What needs to be done to advance of woodwind and jazz studies at New tion of the microphone. If you play the cause of the flute in jazz? Jersey City University and is currently like I do, it’s a little more difficult, LT: Basically, I don’t think there’s a playing in The Drowsy Chaperone, a since I try for a large, natural sound. need to do anything. When my daugh- Broadway musical. ❑ ter began playing flute, I bought one EJ: Your flute playing was a vital part of the Moyse volumes. In it, the trans- in the success of the Toshiko/Tabackin lation says that the flute is a minor Flute Happenings Deadlines big band. Aside from Toshiko’s writing, instrument (when compared to the lit- Issue Deadline Mail date what other composers do you admire erature for piano, violin, etc.). If he December 2006 11/02/06 11/30/06 January 2007 12/07/06 01/04/07 who feature flute in a jazz ensemble can say that about the flute in the clas- February 2007 01/11/07 02/08/07 context? sical world, in jazz it’s a very minor March 2007 02/00/07 03/00/07 April 2007 03/15/07 04/12/07 LT: Chuck Israels [former bass player instrument. Therefore, when you play May 2007 03/29/07 04/26/0 with the Trio] formed a an instrument like the flute in a jazz NYFC NOV06.4pp 10/23/06 5:56 PM Page 8

The New York Flute Club Park West Finance Station P.O. Box 20613 New York, NY 10025-1515

November 19, 2006 concert Sunday, 5:30 pm • Yamaha Piano Salon, 689 Fifth Avenue (at 54th Street) Lew Tabackin, Flute/Saxophone Virtuoso

87th Season 2006–2007 Concerts Greetings! This month’s performer is the October 29, 2006 • Sunday, 5:30 pm jazz flute/saxophone virtuoso Lew Tabackin. Ed Joffe’s FENWICK SMITH, flute, and SALLY PINKAS, interview covers a lot of territory, from Lew’s early piano days as a financially-challenged student in 1940s November 19, 2006 • Sunday, 5:30 pm Philadelphia (and beginnings as a classical flutist) to LEW TABACKIN, jazz artist his successful international career as a jazz musician. December 17, 2006 • Sunday, 5:30 pm LAUREL ZUCKER, flute, and My favorite parts: the ups and downs of his trial-and- MARK DELPRIORIA, guitar From the error learning style and the tricks he uses to keep in Holiday reception Editor shape on the road (including a special warm-up from January 21, 2007 • Sunday, 5:30 pm Jim Walker). TIM LIU, Chinese bamboo flutes I learned from David Wechsler’s “From the Presi- February 25, 2007 • Sunday, 5:30 pm dent” letter that he plays an old (1945) Powell and loves the sound of the THE HANOVERIAN ENSEMBLE JOHN SOLUM and RICHARD WYTON, old flutes. And I learned that the NYFC’s latest CD project, Henry Brant: baroque flutes Music for Massed Flutes, is now complete (see announcement on p. 4). March, 2007 • Date/place TBA Dirk Wels, a native of Germany and a translator by profession, is this FLUTE FAIR 2007—guest artist TBA month’s member profile subject. He too is a doubler (though on the somewhat April 29, 2007 • Sunday, 5:30 pm unlikely combination of flute and bassoon), and has the rare distinction of 2007 NYFC COMPETITION WINNERS having played the same orchestral repertoire (with the same orchestra) on two May 13, 2007 • Sunday, 6:00 pm different instruments. ANNUAL MEETING & ENSEMBLE CONCERT I’d like to remind you that suggestions for article topics, article writers, All concerts and events (except as noted) at Yamaha Piano Salon, 689 Fifth Avenue (entrance between and/or member profile subjects (yourself or someone else) are always wel- Fifth and Madison on 54th Street). All dates and pro- come. Anyway, all for now. See you soon. grams subject to change. Tickets $10, only at the door; Best regards, free to members. For more information, visit the NYFC website at www.nyfluteclub.org or call 732-257-9082. Katherine Saenger ([email protected])