Discovering Hidden Gems: Jazz-Inspired Solo Tuba Repertoire
Left to right: Carolyn "Carol" Jantsch, the first woman to hold a Principal Tuba chair among major orchestras in the U.S. and Wynton Marsalis, Pulitzer Prize and nine-time Grammy award winner, trumpeter, composer, teacher, and artistic director of Jazz at Lincoln Center. Credits: wosu.org (left); JazzTimes.com (right).
by Marc T. Gaspard Bolin
July 12, 2023 (UPDATED: August 31, 2023)
Despite its potential, the tuba is often pigeonholed as a slow and plodding instrument, relegated to the back of the band as a mere accompaniment to the more glamorous instruments. Its low register is often associated with a "blatty" sound, and its role in traditional "oom-pah" music doesn't help its reputation. However, these expectations do not do justice to the tuba's true capabilities.
In the hands of a skilled player, the tuba can produce a beautiful, warm tone with a lyrical high range that is surprisingly beautiful, with a lyrical quality that can rival any other brass instrument and impressive technical abilities. Its powerful foundation can anchor an ensemble and its versatility allows it to seamlessly blend with a variety of instruments. Skilled tuba players can perform complex runs, arpeggios, and other challenging passages with ease, creating a dazzling array of sounds that can be both melodic and percussive. In addition, the tuba is also capable of employing a range of extended techniques, such as multi-phonics, flutter tonguing, and glissandi, which further expand the instrument's expressive possibilities.
Many people associate the tuba with traditional brass band music and do not realize its potential for improvisation and expression in a jazz context. Notwithstanding, jazz-inspired tuba solo repertoire has grown in popularity over the years, with many composers and performers exploring the unique sound and versatility of the tuba.
Here are some examples of jazz-inspired tuba solo repertoire:
Andy Scott's Les Bleus (2012)
Les Bleus was composed by Andy Scott for the tuba virtuoso Les Neish. It premiered at ITEC 2012 in Linz, Austria. It is a single-movement piece that explores the full range of the tuba's capabilities.
Andy Scott's Les Bleus takes the listener on an extraordinary journey through the blues genre. It starts by highlighting the blues changes using multi-phonics (a technique used by brass players to simultaneously produce more than one note on their instrument by manipulating the airflow, embouchure, and valve combinations to create complex harmonies and dissonances) and tongue stops. Then, it transitions into a funkier section with a walking bass line, continuing to evolve, incorporating elements of swing from big band music and intricate double-time, bebop-oriented sections. Throughout the piece, you'll also hear two-octave glissandos, doinks, and extreme intervals and ranges.
Donald Grantham's Tuba Concerto (2013)
Donald Grantham's Tuba Concerto is a three-movement concerto solo tuba, orchestral winds, percussion, and piano that combines jazz and classical music elements. It was commissioned in 2012 by a consortium of academic entities, including the Marcus Wind Symphony. It was premiered by the University of Texas at Austin Wind Symphony, featuring University of Texas at Austin faculty and soloist Charles Villarrubia on tuba.
While the first two movements are wonderful, the third and final movement, "Boisterous!" earns its place in this blog post.
"Boisterous!" pays tribute to Tiny Parham, a talented jazz musician who thrived in Chicago during the 1920s and 1930s. The concerto is dedicated to his memory, and the composer greatly admires Parham's music and scoring abilities—I think Parham would be proud. "Boisterous!" is a fun, jazz-inspired piece full of languid melodies, funky interjections, "bluesy" licks, call-and-response figures between the soloist and the full ensemble, and a glorious glissando up to a high C to finish off the movement.
Maki Belkan and Patrick Mendez's Concerto pour Tuba (2019)
Maki Belkan and Patrick Mendez's Concerto pour Tuba is a contemporary work for piano, drum set, and solo tuba in three movements that incorporates jazz harmonies and rhythms into its composition and showcases the versatility and range of the tuba.
The piece consists of three movements, each with its distinct style and character:
The first movement, "I. Rock," is a fast-paced and energetic piece that features groovy rhythms and complex harmonies—reminiscent of Chick Corea's jazz fusion piece, "Spain." The tubist is required to play with agility and precision, navigating through intricate melodic lines and challenging technical passages.
The second movement, "II. Lament," is a slower and more reflective piece that explores the lyrical and expressive qualities of the tuba. The melodies are haunting and melancholic, demanding the tubist's ability to convey emotion and nuance through their playing.
The final movement, "III. Dance," is a lively and upbeat piece that features playful rhythms and catchy melodies. The tubist is required to play with a sense of joy and exuberance, showcasing their ability to improvise and interact with the other musicians in the ensemble.
Concerto pour Tuba is a demanding and rewarding piece that challenges the tubist's technical abilities and musicality. Its grooves, nature of melodies, and demand for the tubist showcase the versatility and potential of the tuba in contemporary classical music.
Cech Christoph's Concerto Aus Der Tube (1999)
Cech Christoph composed "Concerto Aus Der Tuba" in 1999 as a solo piece for Jon Sass and his group of heavy instruments, Heavy Tuba & Jon Sass. This jazz-inspired composition features evolving sections that create the impression of a larger structure in a condensed form.
The piece is characterized by its use of syncopated rhythms, improvisation, lush harmonic accompaniment, and call-and-response sections between the tuba soloist and other ensemble members. It also incorporates elements of funk and blues music, and contemporary jazz. Overall, "Concerto Aus Der Tuba" is a challenging and exciting piece for tuba players looking to explore the possibilities of jazz-inspired repertoire.
* Click here to read more about Jon Sass and his tuba quartet Heavy Tuba, which features four of the world's finest tubists: Howard Johnson, Joe Daley, Bob Stewart, and Jon Sass himself.
Wynton Marsalis's Tuba Concerto (2021)
Wynton Marsalis's Tuba Concerto is a fusion of classical and jazz, showcasing Marsalis' unique style. It had its world premiere with tubist Carol Jantsch on the Philadelphia Orchestra stage. Marsalis is a renowned trumpeter, composer, teacher, and artistic director of Jazz at Lincoln Center. He has been honored with nine Grammys and won the Pulitzer Prize in music for his oratorio Blood on the Fields in 1997. His recent works include the Swing Symphony and Violin Concerto.
The work consists of four movements, each with its distinct style and character:
The work commences with a stimulating movement called "Up!", which features multi-phonics, orchestral fanfares, a restless melodic line, rhythmic hand clapping from various parts of the orchestra, pronounced syncopation, and all sorts of enthusiastic tuba licks.
Next is a fun and playful movement entitled "Boogaloo Americana"—a mix of blues, Latin American styles and rhythms, and boogaloo elements. It features a wandering melody accompanied by a strong rhythmic beat and some punctuated "bass-line" figures.
"Lament" begins with short melodic phrases that are enhanced by gradual upward runs. This transforms into a passage with a march-like rhythm that is eventually dominated by the orchestra. The tuba took over and led into a hymn-like section before ending with a prolonged yet subdued "wail"—a direction used by Marsalis.
The last movement, "In Bird's Basement," moves quickly with a series of notes that sound like a rolling aria. The orchestra accompanies the tubist here with a showy big-band style. To conclude the piece, the tuba delivers the final punchline playing a quick, exposed riff.
Edgar Crockett's "Mystique" (2021)
One overlooked gem in the solo tuba repertoire is Edgar Crockett's jazzy arrangement of "Mystique," recorded by Patrick Sheridan on his 1998 album Lollipops.
"Mystique" is a composition by Edgar Crockett that was dedicated to the renowned tubist Kevin Stees. Created in 1989, this virtuosic showpiece for solo tuba highlights Crockett's skillful composition. Hailing from Illinois, Crockett, who is both a trumpeter and a composer, infuses the piece with a lively jazz influence, resulting in a captivating musical experience.
Kevin Stees, to whom Crockett's arrangement was dedicated, has enjoyed an impressive career of his own. As a professor at James Madison University for over 30 years, Stees has taught generations of students while maintaining an active performing schedule as a soloist and chamber musician.
The brilliant tuba artistry of Patrick Sheridan is on full display in his rendition. Sheridan is one of our most celebrated tuba soloists, having performed over 3,500 concerts globally in venues ranging from the White House to the Hollywood Bowl. He is a former member of the U.S. Marine Band and has been featured on NBC's "Today Show" and NPR. As an educator, Sheridan has served on faculties at several top institutions, such as Arizona State University, Northern Arizona University, The Rotterdam Conservatory, The Royal Northern College of Music and The Royal Scottish Academy of Music and Drama. He most recently served on the music faculty at the UCLA—where I was fortunate to study under during my undergraduate—where he conducted the Brass Ensemble and Wind Ensemble and taught tuba/euphonium. Along with Sam Pilafian, he authored the bestselling book The Breathing Gym. His flawless technique and colorful musicality breathe new life into Crockett's chart.
With its infectious swing rhythms and virtuosic demands, Crockett's "Mystique" arranged for Stees deserves a place alongside the great showpieces of the tuba repertoire. Sheridan's recording displays the technical brilliance and musical joie de vivre at the heart of this jazz-inspired work.
Conclusion:
There is a lack of tuba solo repertoire in jazz, resulting in the instrument being overlooked. By introducing more jazz-inspired tuba solo pieces, composers and performers can demonstrate the tuba's potential and push the limits of what is considered "appropriate." The previously mentioned works aim to encourage tuba players and composers to expand the solo tuba repertoire for future generations and alter people's perceptions of the instrument.
* To read about the tuba and its close relative, the sousaphone, which played a significant role in early New Orleans-style jazz, they have now become more of a specialized musical instrument within jazz, click here to read my blog entitled "The Lasting Legacy of the Tuba in Jazz."
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Marc T. Gaspard Bolin is an accomplished musician and educator with a rich background in jazz music.
As a musician, Bolin is known for his exceptional skills as a jazz tubist and trombonist. He has performed in various prestigious venues and festivals, captivating audiences with his artistry and improvisational prowess. Throughout his career, he has collaborated with renowned jazz artists, such as Carla Bley, Kenny Burrell, B.B. King, and Kamasi Washington, among others. Beyond the jazz world, he has performed and recorded with Christina Aguilera, Big Sean, Aloe Blacc, the Black Eyed Peas, Neil Diamond, Evanescence, John Legend, Mötley Crüe, Kanye West, and Stevie Wonder, among others.
Alongside his musical pursuits, Bolin has also made significant contributions to education. At UCLA, he serves as a Lecturer, teaching courses such as Jazz in American Culture, Women in Jazz, and Introduction to Ethnomusicology, providing students with a comprehensive understanding of jazz history, its cultural significance, and the contributions of women and Native Americans in the genre. Through his teaching, Bolin inspires and nurtures the next generation of jazz musicians, fostering a deep appreciation for jazz music and its legacy.
His composition and arranging experience includes commissions for three-part horn section, big band, wind ensemble, and orchestral formats in a variety of styles, from "pop" to rock, to R&B, to salsa, and jazz. In 2021, he received a commission from the Lexington Philharmonic Society to produce a 15-minute suite of music from Duke Ellington's unfinished opera Queenie Pie, which he completed in 2008 for the Oakland Opera Theater. The realized opera was premiered in 2008 by OOT and went on to be performed by the Butler School of Music Opera Program at the University of Texas, Austin (2009), the Long Beach Opera (2014), and the Chicago Opera Theater (2014).
He has presented on New Orleans brass band music and improvisational style masterclasses at California State University, Stanislaus University of Southern California, and Thornton School of Music, Florida Atlantic University.
He has spent much of my life practicing empathy and compassion, specifically considering how my actions affect others and how he can give back to the community at large. As a means toward that end, he has directed ensemble classes at community music schools, sought out opportunities to attend to the musical needs of under-represented communities, and worked closely with the Los Angeles Poverty Department (LAPD)—a non-profit organization founded to help make change by creating initiatives that bring together Skid Row service providers, grassroots organizations, and community members. He is currently mentoring a diverse group of musicians at the Silverlake Conservatory (Hollywood High Steppers), ranging from eleven to sixty-two years of age.
He is under contract for a manuscript entitled, Continuities at the Center of the Jazz Universe: The New Orleans Brass Band Tradition, Congo Square, Mardi Gras Indians, and More, with the University Press of Mississippi.