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Banjo Psych 107

The Banjo or the Player?

with guest sage Sam Farris

Years ago ('78 maybe) I saw a jazz saxophonist named Lew Tabakin, a veritable genius who is unknown outside of the jazz world (think Tony Trischka and bluegrass). He played a concert with the UC Santa Barbara Jazz Band, and the instrument he played looked about 100 years old -- dented, tarnished, a completely ugly shade of brown. Yet the tone that shook the windows was as pure and clear as mountain air and as powerful as a tidal wave. I assumed the instrument was some magical, historical horn with an enchanted past, and that he played it because of its mythical tonal qualities.

WRONG -- I talked to a friend in the band later. Lew had picked up an old beater practice instrument from the band room backstage and played it as a joke! The powerful and magical tones were coming from a worthless instrument that no one else wanted to play-- a result of his talent and years of experience, not any properties of pre-war brass. My friend said he could have played his pipe (which he smoked between solos) and still have made unbelievable music.

Moral: yes, banjos have different inherent tone qualities, and an expensive instrument will usually sound "better" than a cheapo Korean. But there is no substitute for talent, ability, and practicing long and hard to achieve tone, timing and taste. I've seen a lot of people with expensive banjos who never played a lick worth listening to, who still think the problem is the instrument.

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Last Updated 15 Jul 2006 by PJH

Edited 03 Apr 2007 by WF