Oggi ho ricevuto da Andrea Tofanelli questa intervista che volentieri pubblico, a breve seguirà una traduzione.
INTERVISTA AD ARTURO SANDOVAL
By Andrea Tofanelli (Maggio 2009)
Nota:
L’intervista è stata gentilmente rilasciata da Arturo Sandoval ad Andrea Tofanelli nel Maggio 2009, su richiesta di Andrea Tofanelli e in via assolutamente amichevole, per essere pubblicata esclusivamente sui forums o siti italiani che parlano di tromba. Questo perché Arturo Sandoval è assolutamente convinto che i trombettisti siano tutti uniti in un’unica comunità trombettistica internazionale e che ci sia bisogno di ispirare continuamente le nuove generazioni di trombettisti. Un grazie immenso al grandissimo Maestro Arturo Sandoval.
- How did you start playing the trumpet?
I guess because of the sound of the instrument. I should tell you that in my entire family no one has ever been involved in the music business at all, but when i heard the trumpet for the first time it was love at first sight, and after so many years i still believe what fascinates me is the sound of the instrument.
- Were you dreaming about becoming a world symbol for the trumpet?
No, not at all. I was concentrated on trying to survive and find something to eat. That "world symbol" you mention, was not in the picture.
- Who have been your teachers, and how were your days when you were a student?
The first few years i didn't have any teacher at all. the man who instructed me in the beginning was a clarinet player. Which means, he didn't know much about the trumpet.
Later on i had a couple of teachers at the the National School of Art in Havana, Cuba but it was strictly for the classical music. and when i was playing for so many years, i got a couple of lessons from Claude Gordon and the great Uan Rasey.
Being a student for me was never too much about the student-teacher relationship. My inspiration as a student always was about my own inspiration and dedication. My need to discover and figure out how to resolve the difficulties of the instrument itself.
- Who are your trumpet heroes?
I admire and respect all of them - whoever plays the instrument well. But of course Dizzy Gillespie is on top of the list. But also i am a big fan of Harry James, Clifford Brown, Fats Navarro, Maynard Ferguson, Timofei Dokshizer, Maurice Andre, Woody Shaw, Freddy Hubbard, Doc Severinsen, Wynton Marsalis, and many others.
- Do you practice a lot? Do you have a daily routine?
Yes, I have been practicing all of my life, the trumpet is merciless. You can not expect to play the trumpet properly if you do not practice everyday. Otherwise the trumpet is going to play YOU.
I don't have an exact daily routine. I have the same principle: We have to warm up correctly. Always warm-up by beginning softly and getting a little harder progressively. Never abuse of your chaps at the beginning of your day.
-Have you always played with your Bach 3C Vernon mouthpiece?
No. My first one was an 8C and then an old friend, he was a retired trumpet player, he asked me. "have you ever tried the 3C/" and i said, "what's that?" and he told me it was more or less like that but a little bigger, and i thought why do i need something bigger than this? He said that my sound was going to be better and i said OK. He gave one to me and that was it - until today, i still play the Bach 3C Mount Vernon.
- In your opinion, which are the important things in playing the trumpet?
Number one: the quality of your sound.
Number two: Your control over the instrument.
And Number three and the most important one: you must love music and you need to make "music" with your instrument.
- Can you tell us about the most important musical experiences in your career?
I have been so lucky. Throughout my career i have had a lot of great experiences and a lot of people who gave me opportunities to share the stage or play on their records. It is always a privilege to make music with somebody who really has the same passion and respect for music.
- May you give us some tips for practicing and also for playing well on a jazz improvisation?
Its good to keep in mind that we have to cover several aspects when we practice. We have to distribute the practicing time to be able to do so. For example, if you have one hour to practice, you should dedicate a good 10-15 minutes to warm-up. And then take care of tonguing, also different kinds of articulation, flexibility, etc, etc, in other words, we have to get ready to do what? what ever we have to - that's the bottom line.
And regarding jazz improvisation, i believe that its like a language. You have to learn how to speak and listen to music all the time. Its something we have to inject into your system...it needs to be part of your dreams.
- What do you think about the embouchure?
The embouchure is the closest part of our bodies in touch with that instrument, which means it is very important to have a good embouchure, solid and under control. But, don't forget that flexibility is a very important part of our embouchure too.
- Have you ever had problems to fix playing the trumpet? Like embouchure troubles, ect....
Yes, of course! Everyday, and everyday we have to deal with this.
In this business of playing the trumpet, everyday is a new day - we have to start from scratch. The ones that are gonna make it, are the ones that have the consistency, discipline and dedication.
I don't recall having a major issue with my embouchure. I guess because i am very careful to not hurt my chops. For example, attempt to play without warming up correctly - that could be a disaster.
- How is to be considered the best trumpet player in the world?
Who's that? I don't think its fair to say that. There is a big bunch of people who really love the instrument and have been doing a lot to keep the trumpet alive. Once again, we dont own any title. You have to earn it everyday, because no one cares what you did yesterday.
- Give one tip to the trumpet teachers.
Teacher must transmit to the students his passion, dedication, and respect for the instrument and furthermore for the music.
