Gianluca Pizzin, intervista per Trombone Italia Magazine Tom Gibson, trombonista e docente in molte universita' americane oltre ad essere clinician della Shires e Eastman Corporate.

Tra le molte attivita' concertistiche e solistiche, segue anche il portale didattico "TromboneLessons.com" e ci parlera' anche del suo "Atlanta Trombone Quartet".

Qui troverete quindi l'intervista in lingua originale (domande in doppia lingua), prossimamente pubblicheremo anche la traduzione, lasciando comunque questa per una migliore comprensione dei temi trattati dal gentilissimo Dottor Gibson.

Buona Lettura!

 

Dr Gibson, vorrei innanzitutto ringraziarla per la gentile disponibilità concessa per questa intervista.

Mr. Gibson, I would like to thank you for your kind attention to us and for answering to our questions.

            It is my pleasure and honor to do it, Gianluca! Thank you for the opportunity. It is very nice to meet you and your readers.

 

Cosa rappresenta per lei il trombone e perché ha scelto questo strumento?

Why did you decide to learn and play trombone and not another instrument, and what does it mean for you?
 
            I chose trombone by mistake, really. My first interest was in viola, believe it or not. (I still love the sound of a well-played viola,) But our neighbor had a trombone and brought it to the house. I thought it was goofy and fun when I was 10 years old…still do! Later on, I learned euphonium.

            Trombone means a lot to me, obviously. Everything in my life has revolved around the trombone in one way or another. It has enabled me to travel the world and meet many wonderful people, like yourself. No other members of my family are musicians, but my parents instilled in us all a belief that doing what you love and striving to make the world a better place is the best way to live. The trombone has allowed me to do that. It’s like a key that unlocks doors.

 

Lei alterna l’attività di insegnante a quella di concertista e di direttore, oltre a quella legata al vasto numero di formazioni di cui Lei fa parte. Come riesce a conciliare il tutto e quali di queste attività preferisce?

You have a lot of activities in the musical world: you are a teacher, a director, a soloist and you play in many ensembles. How are you able to do all these things and which one is your favourite activity?

            Time is an issue…I don’t sleep much. I have 2 wonderful children and time with them is my first priority. My son, Bryce, is almost at the age where he can come with me on many of my musical adventures. I look forward to taking him everywhere. Then his sister, Ella, can join us in a few years.

            I thought coming out of college that I would play in an orchestra and teach some private lessons. I never thought I’d be a conductor, soloist, studio musician, writer, producer….all of those things happened as a matter of course and because I was crazy enough to say “Yes” and try anything. I’m glad I did. It has taken a long time, but I have a richer musical life than I thought possible. All of the musical things I do bring joy and wonder into my life, so I love them all. As long as it involves interaction with other people and the chance to make good music……I’m willing!

 

Quanto le è stata utile l’esperienza nella banda militare?

Your experience in a military band: did it help you in your career and was it useful?

            My time with the U.S. Navy Band in Washington, DC, was a wonderful period for me. It launched my career and I learned much from my colleagues. We played in some really cool places: The White House, The Pentagon, The Capital Building, CIA Headquarters, Arlington National Cemetery. I was also able to visit Sweden, The Azores, and other fabulous places with the band. The level of performance was always so high, we all worked very hard to stay in shape musically (and physically).

            I was privileged to be a soloist on 2 of their National Tours, so I learned what stamina it takes to perform dozens of times in a few weeks. I am in awe of people like Christian Lindberg who spend their lives on airplanes and play solos night after night. That really takes a strong mental game!

            The Navy helped me pay for my Doctoral degree, which qualified me to teach in a university. I studied with Milt Stevens while living in DC, and he along with Jim Kraft, John Marcellus, Robert Hamrick, Buddy Baker, and H. Dennis Smith had a profound influence on me. When the opportunity to teach arose at Georgia State University in Atlanta, I decided to try it. Once here in Atlanta, things really started to take off for me. I have resigned my position at GSU because the performing schedule became too busy. I teach adjunct (part-time) now at Kennesaw State University (http://www.kennesaw.edu/). I love teaching and come from a family of teachers.

This was all made possible by what I had learned while in the Navy Band. I love my colleagues in the band and think back very fondly on those days!

 

Ci può parlare dell’Atlanta Trombone Quartet?

Can you talk about the Atlanta Trombone Quartet?

             The Atlanta Trombone Quartet is really a sextet, septet, octet…it’s a big family. Shortly after I moved to Atlanta, I became friends with Eric Alexander, Lee Watts, Wes Funderburk, Ed Nicholson, Mark Williamson, Harry Hagan, Richard Brady, Mark McConnell. These guys were all world-class trombonists and they liked to get together and play. We would do it at my house a lot, (still do). We’ve had some special guests join us in Atlanta, too: Jim Pugh, Joe Alessi, Ben Van Dijk, John Marcellus, Scott Hartman, Nathan Zgonz, Jeremy Moeller, and the list goes on and on. What fun!

 Then, Colin Williams moved to town and elevated everyone’s playing by a few notches. He is the one of the greatest of his generation, I truly believe, and I think I can say that because I have sat in front of his bell for hours on end. He inspires. He works, too. Boy, does he work!

Most recently, Bill Thomas joined the Atlanta Symphony and he brings even more coolness to our neighborhood. Atlanta is a really, really fun place to be for a trombonist.

            All of us decided to form The Atlanta Trombone Quartet and an off-shoot jazz group called the Piedmont Trombone Society. That group, in fact, won the International Trombone Association’s “Kai Winding Award” in 2004, for having best Jazz Recording of the Year. When we won, we decided to rent an RV (motorhome) and drive to New York for the International conference. What a wild trip!!! Maybe next time we’ll head to beautiful Italy.

            The scene here in Atlanta is like none I’ve ever been a part of….it’s a real brotherhood (and sisterhood, too, we have some lovely ladies that join us often!). Rather than cut each other down by being competitive for “gigs”, we really encourage and promote one another. It’s beautiful, and many guests that have come from all over the world have made comments about it. We think it’s a special place for trombonists. Everyone is always welcome to our “trombone hangs” and it’s really fun to watch a relative beginner or “weekend warrior” (amateur) sit between, say, Colin and George Curran and play quartets…..their faces light up. They’ve never heard anything like these guys and they are often amazed at how humble, helpful, cool, and gracious they are. It’s a testament to all the tremendous players in this town. I feel incredibly blessed to be here at this time. Must be something in the water.

 

Il suo sito internet “TromboneLessons.com” ha riscosso un notevolissimo successo e registra ogni anno un elevatissimo numero di contatti. Come e perché ha sentito l’esigenza di creare questo sito e di divulgare in forma gratuita la sua esperienza?

You have created a famous and very useful web site, that every year has a great number of contacts: TromboneLessons.com. Why have you decided to create it?

             The website really has taken off, especially now with the Video Podcasts we do at iTunes and other places on the Web. The website started when the Internet was quite new….hard to remember isn’t it? When I was working at Catholic University with Milt Stevens, he encouraged me to explore the possibilities of technology in performance and teaching. My Doctoral project was a CD-ROM about a “Daily Routine for the Orchestral Trombonist”. I decided to take it one step further and put resources on the Internet for all to share. That was in 1994. Since then, we’ve had over 2 million visits and I have made hundreds of friends through the website. It has been a passion of mine to reach trombonists all around the world who might not otherwise have access to a teacher. I often call upon my friends to help answer the dozens of emails we receive every day, and that’s how the Video Podcasts started. We wanted to share the special “vibe” of the Atlanta trombone community with people. I am proud to say that the feedback has been tremendous and the “Trombone Love” is spreading like wildfire:-) The Video Podcasts have become a central focus in my life. I am trying to find a way to commit my life to them completely and make a career out of it. They have reached so many people while allowing me to make the acquaintance of some fascinating people. Check this out:



That is a Google map depicting the downloads of our Podcast on November 4, 2008 (a very big day in the lives of Americans….Election day). That’s in ONE single day. I look at that and just shake my head. Who knew the Internet would be so wonderful? Who knew we all had so much in common?

            Isn’t that what it’s all about, really? Everybody on this planet is special, but we play trombone! We are all obligated to follow our passions, work hard, and share our gifts with others. In the trombone world, we have a lot of terrific examples of that. Let’s face it: trombone players are interesting, fun-loving, whacky people living in a wondrous, musical world. My goal with the Podcasts is to bring to light one tiny sliver of that.

 
Quale ritiene siano i trombonisti più interessanti nel panorama musicale attuale e perché?

Who are for you the most interesting trombone players in the world at present and for what reasons?

            I like anyone and everyone who picks up the trombone and sincerely tries to communicate. I have been moved by world-class soloists as much as young students “giving it their ALL”. That interests me to no end.

            I am primarily a “commercial” player, I guess, so I have developed an appreciation for “putting on a show” and creating an experience for the audience. And I guess for that reason, I really love to watch players like Abbie Conant, Dave Taylor, Ray Anderson, Christian Lindberg, Jim Pugh, Wycliffe Gordon,etc. They will suck you into their world for 10, 20, 60 minutes at a time and you will emerge a different person. That’s powerful and interesting to me! You can tell that when they are performing, they have invested their ENTIRE being into the music. They hold nothing back and have no fear….they have important things to say and they are committed to getting it out the bell. Awesome. There are hundreds, thousands of players that do this. They all inspire, amaze, and excite me.

 

E quale ritiene sia il modello di trombone che offre le migliori prestazioni attualmente in commercio?

And which is your favourite trombone you can find in the shops now?

            Well, I love my Shires! Steve does terrific work. Out of my relationship with that company, I am now a Performing Artist for Eastman Trombones, with whom Steve has a partnership. They are really great horns, too.

            Truthfully, though,(we did a Podcast not long ago on this topic): so many great trombones are being made today. It’s a wonderful time to be alive if you’re an “equipment” nut. I’ve played lots of different trombones over the past few years and have loved many of them. I own presently about 15 trombones (haven’t climbed to the back of the closet recently, so that’s an estimate). I have regular gigs with orchestras, rock groups, church groups, Broadway shows, studio sessions, etc. So, I need to play a lot of different styles on a variety of equipment. My normal arsenal includes:

            -Shires large-bore symphonic tenor

            -King 2B SilverSonic (LOVE that thing!)

            `Yamaha alto

            `Yamaha bass (613…..great trombone for the tenor doubler, if you can find one)

 

I progetti per il futuro?

What are your plans for the future?

            I used to have very specific plans for my future, but things kept getting side-tracked and the road kept forking. I don’t plan anymore, truthfully. It was causing me too much stress. Ha! I have some very successful friends in the business world, and I have watched them achieve great things by “staying in the NOW” and reacting to situations as they arise. I don’t want to miss out on any opportunities that might arise, so I try to do the same…..stay in the moment.

            A few years ago, my mother died most unexpectedly. I don’t wish that upon anyone. The pain was almost more than my family could bear. If there was a lesson for me, it was:

            Life is quite short, and you don’t know when your time will come. Each time you play music could be the LAST time. There really is no need and no use for: cynicism, fear, jealousy, self-doubt, prejudice, etc.

            All of that crap robs you of a meaningful life experience. So, as much as I can, I try to do without those negative thoughts and emotions. Our time is better spent helping and loving one another and revelling in the joy of Music. I know that sounds corny or trite, but it’s just so clear to me. Love matters, nothing else. Mom died for me to realize that. That’s a heavy price.

 

Ci può indicare la sua discografia e la reperibilità dei dischi?

Can you describe your discography for us and where can we purchase your records?

            I don’t have any solo projects yet, but I want to do an album in the next few years, inviting a slew of my friends to join me! The Piedmont Trombone Society album “Let’s Get Lost” has sold out, but another pressing is in the works and it will be available through iTunes or directly from me: Indirizzo e-mail protetto dal bots spam , deve abilitare Javascript per vederlo )

            I have been the side man on a few great projects, though, and they include artists like: Joe Gransden (joegransden.com) and Mark Cook’s “Blue Voodoo” (awesome blues). I’ve also done a bunch of television commercials and movie soundtrack’s, the latest being Tyler Perry’s film “The Family that Preys”. Oh, and I can be heard on the Atlanta Symphony’s Grammy-winning recording of the Berlioz Requeim! That was fun.

 

Quale genere di musica predilige (classica, jazz, musical, ecc…)?

What kind of music do you prefer (classical, jazz, etc…)?

            I love all music that’s good. I really like to perform in all styles, too. I don’t play orchestral styles as well as Colin (few do!), I can’t play jazz like my friend Wes Funderburk (few do!), I can’t do anything like Jim Pugh…..but I’m not gonna let that stop me from having some fun and working each day to learn more, you know what I mean? I think I get a “rush” from the challenges of versatility. I am pretty good at most styles and a master of none….but that has really worked out well. Ha!

            I listen to all kinds of music, too. Some of my musical friends think my collection is strange. I’m a huge fan of Bob Dylan, Pink Floyd, old Genesis, King Crimson, Rush, Grateful Dead, Cat Stevens, Rolling Stones, The Shins, and lately I have been freaking out to the music of Jenny Lewis. She is unreal.

 

Quale consiglio vorrebbe dare ad un giovane dilettante che decide di accostarsi al mondo del trombone?

What is your suggestion for a young musician who wants to learn trombone?

             Get with a good teacher as soon as possible, work hard because it’s worth it, and remember always that feeling you had when you first played trombone…….it was fun!

 

Secondo lei quali sono le migliori scuole al mondo per il trombone?

Which are for you the best trombone schools in the world?

            I think that depends on what your career aspirations are. I have visited (and sent some students to) Juilliard. That place really oozes with powerful vibes. It’s perhaps the most special atmosphere that I have experienced. There are lots of good ones, though. I visited Ben van Dijk  at The Rotterdam Conservatory. That’s an amazing trombone school. Wow!

            If you’re fortunate enough to find yourself at one of these places, you should not take the experience for granted! Remember, you are obligated to go and share what you have learned.

            If, on the other hand, you are studying at a lesser known school, don’t despair. What matters most is the quality you put into your studies and the quality of your private teacher; especially as an Undergraduate here in the States. You can almost assume you will be going on to more studies at Graduate School. That’s where you can gain the ensemble experience you need if it wasn’t strong at your Undergrad school. You need to come out of Undergrad, though, with your technical skills in great shape. Reading, intonation, good sound, controlled and varied articulations…these are the things to be concentrating on with your teacher. There are many, many good teachers, too, at the Undergraduate level.

            If your aspirations are to be a performer, I think it’s wise to study with a performer. We have a bit of a problem here in the US in that too many people go straight through school (even through a Doctoral degree, which can mean a total of 10 years of college!), then go straight to teaching at a University. My problem with that is this:

            Just like in the world of science, we seem to have 2 schools evolving: theoretical and experimental music. If all you have done is school, you think too much! On the gig, you can’t think so critically and analyze every bit of minutiae. It’s a fun diversion, perhaps, but at some point you must make the music come alive. You’ll notice that when that’s happening, the critical mind is nowhere to be seen. But it’s like lifting weights, seems to me…..some folks flex that critical muscle so hard and for so long, it’s hyper-developed. Often, they simply have no musical outlet. They might live far from an audience or have an administration that puts emphasis elsewhere in their programs. Sitting in a room and analyzing the trombone, though, is useful only to a point.

Unfortunately, I’ve seen a lot of great musical talent get squelched by over-analysis. It erodes confidence, promotes cynicism, sucks life out of music if not done very carefully by a very skilled teacher.  I think a balance can be struck, as in all things. The love of music must always be present in the room, in my opinion. For that reason, I enjoy the attitude of folk musicians and amateur musicians. They are my role models.

I try to be very careful at walking that razor-thin (experimental/theoretical) line in my teaching. I also commit myself to performing as often as possible. That helps my students. It’s a pretty cool feeling for me now to go out on gigs, recording sessions, chamber recitals, etc. and sit next to a former student (or 3 or 4!) that now has a fully blossomed professional career going. Makes me feel old, but that’s OK. I don’t think I deserve the honor that some of them bestow upon me by their artistry and their comments to me, but maybe I’m a good role model for some of your readers. I am not a thoroughbred. I am a mongrel, a mutt. Yet, even I was able to make a life with the trombone that I wouldn’t trade for any other life.

 

Ci può parlare del piano di studi americano per quanto concerne il trombone?

Can you describe for us the American trombone school?

            I think I may have done so already, but I will mention that the overall level of trombone-playing in this country is astounding. The overall level of music-making with the trombone, though, lags behind. Because of the situation described above, lots of younger players (and older, actually) really have been shell-shocked and convinced that there is ONE acceptable way to play any given piece of music. There is ONE desirable sound quality. There is ONE style of articulation. And so on and so on….

            What’s more, I have had the very sad occasion to encounter students that believed that ONE way was far beyond their grasp, because that’s the sort of pedagogy they were groomed on. That’s so screwed up to me. That completely defies your compulsion to PLAY the trombone. Remember when it was fun and you enjoyed the fact that your voice was unique and special by definition? These players had better get back on that track and set about the sincere business of honing their art to pay tribute to the Muse. There are no more jobs for the robotic technician. Even if there were, why would you want a job like that? If you sit down in a quartet with pros, for instance, you better react to the musical thoughts thrown at you, and you better join the party and throw some back!

Music is like a gourmet dish (or a lovely single malt Scotch:-) : complex, deep, rich, delicious, juicy. Don’t deny yourself all of it or any little bit of it in an effort to “fit in” or be “respected by your peers”. Life’s too short and we’d all like to hear what YOU have to say. Maybe I am old, because I think the only way to be happy is to be completely comfortable in your own skin. It wasn’t that long ago that old people would say that to me and I’d role my eyes and pity them.

I see a lot of 30-somethings, though, that were trombone majors that now do other things to pay the bills. Their heart lies with the trombone, but they were never able to carve their niche or make it go. Too often, when speaking with them, I discover that it is because of their modes of thought about music-making and the business of trombone-playing. Those modes of thought were poured like cement and turned to stone during their college years, more often than not. That’s heartbreaking and we’re doing something about it through the website and Podcasts. We’re trying to change people’s minds and show what joys can be had in a musical life. I know too well the old argument that: “Well, there are just so many jobs for the trombonist and too many good players”. Empirically speaking, I never encountered that. Besides, if there aren’t enough gigs for everybody…let’s make some! That’s our philosophy.

 

It has been a pleasure, Gianluca, and I really appreciate the invitation to speak with you and your readers. I have visited Italy, but it has been too long and I’m due for another trip! My wife and I are big fans of Tuscan cuisine and I owe it to her to give her a belated Honeymoon wish. Perhaps we can meet in person one day and play some duets….I would love that. Peace to you, sir, and thanks for the privilege. Please know that you and your readers are most welcome here in Atlanta and my email address will forever be: Indirizzo e-mail protetto dal bots spam , deve abilitare Javascript per vederlo

 

                                                                       Trombone Love,

                                                                        Tom Gibson

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Ultimo aggiornamento : 02-12-2008 17:48

Tags : trombone, gibson, tom gibson, trombonelessons.com

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