What an excellent interview, Michael. I was fortunate to have the privilege of studying with Chris, and he is a generous, sincere, and gifted teacher - and more so, a really good man. Playing alongside him in lessons was a learning experience that will stay with me forever.
Michael, I really enjoy ALL of these in-depth interviews that you do with all of our music-heroes-THANK YOU for continuously providing something really worthwhile viewing! This one with Chris Gekker though may actually be my favorite, so far. I always knew that Chris was a great Classical player-including much of the complex modern a-tonal repertoire, but I never realized how well rounded of a musician he is elsewhere, & how knowledgeable & respectful he speaks on other genres. I liked his comment about playing ‘Jazz’ vs ‘jazzy’ & how it really has to be authentically cultivated from within, rather than someone just switching to a ‘different hat’. Jazzy = corny, & I know exactly what he meant when he said he often did not enjoy playing ‘Jazz’ music in a brass quintet setting with mostly pure Classical players. Unfortunately, it is still not an uncommon misconception amongst many traditional players (who are of course great players within their own area of actual expertise) that one can just make ‘jazzy’ sounds & get by. I also liked his comment regarding today’s ‘music’ & how it’s manufactured, vs US--who for better-or-worse have spent a lifetime honing our crafts on these meager & beautifully imperfect mechanical instruments....& his great analogy: of feeling like the dinosaurs looking up at the meteor about to hit Earth. Ha!!--ain’t that the kicker!?! But I enjoyed a sense of hope in his explanation of how real Music has always kinda operated from a near-state of despair (this is not something new?), & yet somehow still always survives. Lastly, the one thing I wish he had talked a little about is his time with the New York Trumpet Ensemble. My 1st exposure to CG was actually on a Nonesuch recording by the NYTE under the direction of Gerard Schwarz called ‘A Festival of Trumpets’. It also featured the likes of Mark Gould, Lee Soper, Ramond Mase, etc. A great LP that sadly was never re-released onto CD. How did that whole project come about? Were these just recording-session-dates of all-star players or was it an actual ensemble that toured & gave concerts, etc? I know the group also changed several leadership hands-to Edward Carroll, Mark Gould, etc, which also then changed its sound direction...Anyway Michael, thanks again; btw, I hope someday we get to see a video of someone actually interviewing YOU too! You are always the very humble & gracious host, but we all know that you too are one of the greats. Happy Holidays to all!--peterjblume.com
Very interesting remarks about the Erwazen sonata, where in the second movement, the trumpet has passages where it, in effect, accompanies and supports the piano. i don't know the sonata, but the idea of trumpet as accompaniment...very important.
I agree - it is insightful. Sonatas by definition are to be played collaboratively - as a duo - the pianist and other instrument form the smallest chamber group. But not every musician approaches Sonatas in this way. Chris is a thoughtful, humble, and very gifted trumpet player as well as a grounded and good guy.
