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For Flutists and Musicians...
Check out these other pages for Jazz Flute info and links and Hot Flutists... also links to some of my favorite smooth jazz musicians and recording artists.
NPR interview with Hubert Laws...the greatest living jazz/classical flutist today. This is a "must listen" conversation from NPR - National Public Radio. You'll need Real Player or Windows Media Player, high speed connection recommended. Listen to the Hubert Laws interview. Also check out the Hubert Laws website... the link is on the jazz flute links page.
Also, here is another interesting NPR interview with Yusef Lateef, one of the greatest living composers and musicians that plays flute, sax and other woodwinds.
FAQs - Frequently Asked Questions:
Got a question? Send it to zignoda @ gmail dot com
Q: What is the difference between closed hole and open hole flutes like you have? Also, I was wondering if I should get a silver headjoint. I was told that this enhances the sound and makes it sound better.
A: Acoustically (musically speaking) there is very little difference between the two. There are purists from both sides of the coin that say one is better than the other or one sounds better than the other. The truth is...is all comes down to the quality and workmanship the individual instrument itself and of course the bottom line is musicality of the player. There are small differences in the open hole (french style) flute that allow a player to experiment with "note bends" by sliding the finger across the open tone, this can be done also with a closed hole (plateau) style flute by turning the headjoint in/out while blowing the note. These are somewhat experimental techniques that improvisers sometimes use. One thing I have observed over the years is a bit more practical...players that are used to playing open hole flutes can also pick up a closed hole flute anytime and feel fairly comfortable with it. Whereas, those that are used to playing only closed hole flutes have initial difficulty playing an open hole flute if presented the opportunity, or are asked to play another flute. Because their fingers are not used to covering the tone holes completely where they are open, it takes a few weeks to get completely used to covering the tone holes completely while playing an open hole flute. In the beginning, if you choose an open hole flute, I would suggest using the tone hole plugs at first (or covering each of the open hole keys with scotch tape which acutally works better) and then every few days take out one plug at a time from the top down (left hand - one at a time, then right hand one at a time) until you finally take out the right hand ring finger plug. This way you can get used to covering the tone holes completely while also getting used to playing the flute. It will take about 3 weeks to feel that you have gotten accustomed to it. If you can afford the SS (Solid Silver) Headjoint, then by all means get it, or even the SS Body too, but if you are even slightly serious about playing, go for at least the SS HJ, it will make a difference in timbre.
Q: I am about to upgrade my flute... My question to you is, which do you recommend... a flute with C foot or B foot?
A: It's really just a matter of preference as to what is comfortable for you, and what you feel is best as far as tonality for the specific flute you are playing. I currently own both, and have owned and played many of both in the past as well. There have been some flutes with a "C" foot that I have played that I absolutely wish were mine, and vice versa. A "C" foot flute will generally feel lighter and will be easier to handle. However, a "B" foot, in my opinion, does change the timbre of the higher notes to slightly thinner, and I've been told the pitch of the higher register is slightly on the flatter side...that is to say a B foot makes the higher register less bright on the high notes but more "in tune" with itself. Generally the higher notes on the flute are handled slightly sharp so this is a benefit. However, I personally think that the notes from the middle octave C down are also affected slightly. These are all very subtle tonal differences and of course, varies from flute to flute. There are so many other factors that directly influence tonal quality and intonation and projection. But each flute does have it's own characteristics. On a more practical side, it's easier to finger notes from the highest C and up in the highest attainable octave with the B foot and gizmo key mechanism. Although most repertoire doesn't call for notes that high, some salsa and latin jazz players make their living in the upper register... The highest register C, I'm sure you'll play often. Also, it's nice to have the extra B low note especially when you are practicing low register long tones. And occasionally you might even get to use the note when performing a solo. But again not a whole lot of flute repertoire calls for the low B note either. You'll see accomplished jazz and classical players using flutes with either "C" or "B" foots, it really just depends on what the player likes at the time. Jean Pierre Rampal, the famous quintessential classical flutist, was said to prefer playing flutes with C foots. There is a current trend for players especially students moving up to prefer B foots. But the reality is that none is better than the other. And neither makes you a better player. My current handmade flute I use for recording and performing has a "C" foot. For practicing outside and "goofing off" I use an intermediate level brand name flute with a "B" foot. All of the sound clips that are on currently on this site were recorded on the handmade with the C foot... The one thing I really miss though when I play the C foot is the gizmo key which makes it easier to play the highest C note. So my final conclusion is this...if the the particular "C" foot flute you are considering buying has such an incredible sound and feel or uniqueness about it that makes you want to own it, buy it. Oh and one more thing, usually flutes with C foots cost about 10% to 15% less than the equivalent model with B foot.
Q: What kind of flute do you play?
A: Currently I use two flutes. One for practicing outside, which is an Yamaha 481H, with open holes, low B. I got a pretty good price on it at the time so I bought it. It's a very good solid silver (tubing) intermediate level flute, this is the third 481 H that I have owned. The main flute that I use for recording and performing is a solid silver Handmade flute made by retired Northern California flutemaker George Koregelos. Before he started making his own brand, he was in partnership with a fellow named Roy Seaman (the famous piccolo maker). The name of the flute is "Sealos" (Seaman + Koregelos). Serial number 226. There were probably less than 500 made...all totally handmade. It's an all solid silver instrument, with open hole flute with offset G/A keys and a C foot. The headjoint is a GK (George Koregelos) solid silver. I purchased the flute used from a wonderful classical flutist named Elena Yarritu. After purchasing it I had it overhauled by David & Joel Straubinger, with Straubinger Pads, and had David make modifications to the embrochure hole and customize the headjoint. After all it's been through, it's a one of a kind instrument. All the current sound clips on this site are recorded with this instrument. I also have an Armstrong 303B, and other student model flutes. In the past I have also owned Muramatsu, Pearl, Kotato (headjoint only), and Gemeinhardt flutes.
Q: Who are your musical influences?
A: I am inspired by any great musical performance, and can be influenced by any style from hip hop to pop to jazz to r&b. In terms of the great flute players, I really have a great sense of awe and have spent alot of time listening (and still do) to Hubert Laws, Dave Valentin, the late great Herbie Mann, Nestor Torres, Jeremy Steig, James Newton, and of course Artie Webb. There are some great newer flutists like Althea Rene, Lori Bell, and Dwayne Kerr that in my opinion are going to take the flute to the next level in popular jazz. At the moment I am really getting into Dwayne Kerr, who is also the flutist for Erykah Badu. His soulful expressiveness is just amazing. I love the sax players like Sanborn, Warren Hill, Jeff Kashiwa, Dave Koz, Kenny G (who I've followed while he was still Kenny Gorelick and was a member of the Jeff Lorber Fusion), and Boney James. Eric Marienthal is an alumni of the same jazz program that I partcipated in at Orange Coast College, in Costa Mesa, CA. And my all time favorite sax player and probably favorite horn player in general is Kirk Whalum, to me, Mr. Whalum is the most soulful and most expressive horn player. There are so many players I've left out that inspire me. Not to mention the pianists like Bob James, Brian Culbertson, David Benoit, Jeff Lorber, and guitarists and great vocalists. I also love the great contemporary jazz bands such as Spyro Gryra and the Rippingtons. The list goes on and on. As you can see I am a HUGE fan of this music that's called smooth jazz.
Various methods and technical etude books along with other items of interest for flutists and musicians will be available here.
You can find other flute makers and models, along with other great flutists and jazz musicians on my flute and jazz links page.