{"id":166262,"date":"2026-10-04T11:54:16","date_gmt":"2026-10-04T15:54:16","guid":{"rendered":"https:\/\/panm360.com\/interviews-panm360\/flux-2026-bob-stewart-le-doyen-des-tubistes-a-montreal\/"},"modified":"2026-10-04T12:56:19","modified_gmt":"2026-10-04T16:56:19","slug":"flux-2026-bob-stewart-le-doyen-des-tubistes-a-montreal","status":"publish","type":"interviews","link":"https:\/\/panm360.com\/en\/interviews-panm360\/flux-2026-bob-stewart-le-doyen-des-tubistes-a-montreal\/","title":{"rendered":"Flux 2026 | Bob Stewart, the most senior jazz tuba player performing this week in MTL"},"content":{"rendered":"\n

Active on the jazz scene since the mid-1960s, Bob Stewart has played the tuba in all kinds of ensembles\u2014from Dixieland to the groups led by Charles Mingus, Gil Evans, and Charlie Haden, as well as those of Arthur Blythe, Sam Rivers, and Carla Bley, to name just a few.<\/strong><\/p>\n\n\n\n

All these years, he has also devoted himself to teaching, so he knows a thing or two about jazz music and the articulation of this instrument\u2014the tuba\u2014which, not so long ago, was rather neglected but has recently, so to speak, risen in stature.<\/em><\/strong><\/p>\n\n\n\n

Bob is coming to Montreal to help us discover the underestimated possibilities of the tuba in settings where it can truly shine. More specifically: on Sunday morning, he\u2019ll lead a workshop; on Monday evening, he\u2019ll perform in a duo with John Hollenbeck; and on Tuesday evening, he\u2019ll take part in a Tuba Summit with Julie Houle and Julie Richard.<\/strong><\/p>\n\n\n\n

PAN M 360 spoke with him by phone a few days before his stay in MTL.<\/strong><\/p>\n\n\n\n

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BILLETS ET INFORMATIONS CONCERT DU 5 OCTOBRE<\/a><\/strong><\/p>\n\n\n\n

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BILLETS ET INFORMATIONS CONCERT DU 6 OCTOBRE<\/a><\/strong><\/p>\n\n\n\n

Interview with Bob Stewart<\/p>\n\n\n\n

PAN M 360 : First I would like to know, how did you choose the tuba as your instrument in the first place? <\/strong><\/p>\n\n\n\n

Bob Stewart :<\/strong> It was totally by accident. <\/p>\n\n\n\n

I was a trumpet player. I started playing trumpet in the 5th and 6th grade, in like 1954-55, and played trumpet all the way up into college. I started college in 1962. In my third year of college, I was having some embouchure problems on trumpet. And in another year and a half, I needed to do a graduation recital. So my trumpet teacher suggested to me to go to a larger mouthpiece because I couldn’t have retrained those muscles.<\/p>\n\n\n\n

You have to stop and undo what you’ve done. So I went to a larger mouthpiece and just trained new muscles in order to be able to get my graduation recital. <\/p>\n\n\n\n

So my school just got a tuba. It was in Philadelphia. And so I started working on tuba in my junior year. And so by February-March of my senior year, I did my recital on tuba.That’s how it happened. <\/p>\n\n\n\n

To have to switch when I was an 18, 19-year-old, having to switch to a different instrument at 18, 19, I was heartbroken. But, you know, I started on tuba and then graduated, and I started teaching. <\/p>\n\n\n\n

As a musician. My first gig was one night a week at a place called Your Father’s Mustache, which is kind of beer and peanuts in Dixieland. And I figured out how to play, play bass lines on tuba.<\/p>\n\n\n\n

One night I was on stage and this black guy came up to me after I finished playing and introduced himself to me. It was Howard Johnson(1941-2021). And he told me who he was. He played tuba. We were both tickled to see another black tuba player. He saw a black tuba player on stage. It was an all-white club and slightly racist in a way but it was a gig.<\/p>\n\n\n\n

I was still teaching at the same time. So what I did, like in 1971 when I played with Taj Mahal, I took a leave of absence and I took off for a year and then I went back to teaching again. And so all the things that I’ve been doing, playing with Dizzy Gillespie, McCoy Tyner or Sonny Rollins, I was teaching the whole time and being a teacher taught me a lot about being a tuba player. <\/p>\n\n\n\n

PAN M 360 : Since there were very few tuba players, who were your first models, even musicians playing other instruments, who influenced you in your way of playing?<\/strong><\/p>\n\n\n\n

Bob Stewart :<\/strong> In my way of playing? Nobody because there was nobody playing the way I was. I was influenced mostly by Howard Johnson who introduced the tuba to me as being a whole other instrument than the one I was playing and to the possibilities that the tuba had and options that I hadn’t even thought about. And so it opened up a world of being a musician. I’ve also discovered during that time that there’s only one Howard Johnson. <\/p>\n\n\n\n

Listening to Howard, he was so phenomenal, I realized that there is but one that can do that and so I had to figure out who am I on the tuba. And in doing that, that’s how I figured out, that’s how I eventually came to the concept of reintroducing the tuba as a bass instrument and playing in the rhythm section rather than, like Howard his whole focus was horn up front of the band, being virtuosic and high and do all that stuff. My concept was just continuing what I was doing in Your Father’s Mustache, figuring out how do I evolve the tuba to be a contemporary bass instrument. So I had to figure out the music I was going to play, I had to write songs that helped me apply that. I had to develop concepts of breathing, I had to develop concepts of just the concept of how do you play. <\/p>\n\n\n\n

I’ll give you a story. At one point I was busy trying to be a bass player and I was trying to make the tuba sound like a bass. And so in like 1980 I put my first quartet together with a French horn player named John Clark, and so I was figuring out what I am going to play. I hadn’t started writing compositions yet, so I was doing bebop tunes. We did some other tunes and I was figuring out what do I do? Who am I on the tuba? How do I do this? So I had to write the things that I was going to be doing because no one else was and I couldn’t apply other stuff to what I was doing because it was the tuba and I had to write bass lines that worked best for the tuba. <\/p>\n\n\n\n

But in the meantime I was busy trying to sound like a bass. I could make it feel like a bass, I could do all that and I made a recording of this quartet that I was doing with John Clark and I took it down to Gil Evans, because by that time, by the 80s, I had been working with Gil Evans since like 76, 77, and so by 1980 I took him a copy of this first quartet that I was playing, that I created. <\/p>\n\n\n\n

And up until that time people said wow Bob! That sounds great, man! Sounds just like bass, man, that’s killing! I’d be so proud, and I took a slight emphasis on the wrong syllable. I took it to Gil and he said the same exact words. He said yeah Bob, that’s great, man but it just sounds like a bass. And so I said what? I mean the same exact words: yeah Bob sounds great, sounds just like a bass. I’d be smiling and then Gil said yeah Bob sounds great but it just sounds like a bass and I realized at that point, while busy trying to sound like a bass, I lost an instrument. <\/p>\n\n\n\n

So I had to go back and listen to early recordings about how I was playing and what I was doing before I got so slick and was able to emulate what a bass could do and I went back and reinvested and found the tuba. That’s when I started writing bass lines that were much more punctuated and using the tone so it was the tuba bass, it wasn’t smooth like a bass would sound, and so I reintroduced the tuba to my playing and that’s where it began to develop right after I had that meeting with Gil Evans.  <\/p>\n\n\n\n

PAN M 360 : You’re one of the stars of the Flux Festival and will be fairly busy. Sunday morning you’re giving a master class, Monday evening you’re doing a duet with John Hollenbeck and Tuesday night you’re doing a Tuba Summit with Julie Houle and Julie Richard, so what have you got in store for those three days?<\/strong><\/p>\n\n\n\n

Bob Stewart :<\/strong> I already sent some of that music that I was just speaking about, some of my bass lines that are the tuba\u2019s. I’m going to introduce lots of stuff, I’m not restricting myself to just be two people on stage. I mean there’s too many greats players, there’s Keith Walton and there’s Julie Richard\u2026 I’m going to be having them play during that concert also. It’s not going to be so cut and dry as a duo concert.<\/p>\n\n\n\n

PAN M 360 : So there will be more people on the stage with you and John?<\/strong><\/p>\n\n\n\n

Bob Stewart :<\/strong> There will be people on and off. There will be trios, duos, quartets, I’m going to be bringing lots of people on the stage during that concert because the tuba deserves that and so do the people, the great players that are up in Canada, and so I’m going to expand it past what they’ve announced it to be so the audience will get some music for free. They’ll get a lot more than what they paid for.<\/p>\n\n\n\n

PAN M 360 : And what about the Tuba Summit the following day? <\/strong><\/p>\n\n\n\n

Bob Stewart :<\/strong> It’s going to be lots of stuff like I said. I sent my compositions up. I’m going to have saxophones, trumpets and trombones, everybody up on stage they’re going to be playing some of my tunes. One is going to be Nonet, another one is going to be one of Arthur Blythe’s tunes called Bush Baby. During the duo thing I’m going to do a composition of mine called Rambler. We’re going to do a tune that I used to play with Don Cherry called Bemsha Swing [the Monk composition]. It\u2019s Bemsha Swing but I call it Tonk. It’s the same bassline as Bemsha Swing, but I’ve got a different melody put on it.<\/p>\n\n\n\n

There’s also going to be some music that I’m sure most people, whether in Canada or the United States, don’t even know anything about. I mean it’s music that’s parallel to the music of New Orleans like the Dirty Dozen type band. It’s music that runs parallel to New Orleans but it comes from about a thousand miles southwest of New Orleans in Suriname. <\/p>\n\n\n\n

PAN M 360 : The Dutch Guyana \/ Surniname.<\/strong><\/p>\n\n\n\n

Bob Stewart :<\/strong>  That music from Suriname parallels New Orleans. They have an ensemble that looks exactly like a New Orleans band but the music they play is night and day different. We’re going to be introducing a tune called Sugarfinger, it’s from Suriname. <\/p>\n\n\n\n

I was in Holland and some brothers from Suriname, I mean they could be my cousins, they could be my uncles, because the way they got to Suriname is the same way I got to the United States, with the slave trade. They got their instruments the same way people in New Orleans got their instruments after the Civil War where northern soldiers bands, marching bands left instruments in New Orleans and people started playing those instruments. It started at a place called Congo Square in New Orleans where that music was slowly being developed, but the same way it was being developed in Suriname. <\/p>\n\n\n\n

Some of those people in Suriname who happened to join the army and played in the army band took those instruments back to their cultural roots and played their cultural music with it. I’m sure people in Canada don’t know anything about that music. I didn’t know before the brothers pulled me aside and fed me dinner in Amsterdam and suddenly they put on a music where a tuba was the bass and it wasn’t New Orleans music. I said what is that? I said it sounds like me playing but I know it’s not me. He said this is the music of Suriname and it’s a music that like I said the ensemble is clarinet, trumpet, trombone, tuba, snare drum separate from the bass drum, but the way they play the instruments is night and day different than New Orleans. <\/p>\n\n\n\n

I discovered this music in the 80s around 84-85 and I hadn’t put a group together yet, but when I did put a group together that’s one of the songs I recorded, Suriname, and I recorded a second tune called Sugarfinger. It’s like Caribbean music but it’s with a brass band and it’s a wonderful music that’s joyous and has the same kind of celebratory feeling of New Orleans music and that’s one of the things I’m going to be doing with some of the musicians during that second evening and maybe I’ll do it both nights. <\/p>\n\n\n\n

As for the workshop, one of the things I’m bringing is to give people an idea that they have to get a point of view about how they’re playing their instrument. It’s not about playing fast, it’s not about playing high, that’ll all get decided if you have a point of view on the instrument. Whatever you play, you’ll develop it. <\/p>\n\n\n\n

I was just kind of going with the flow for a long time up until Gil made that statement to me. Then I started to really begin to have a concept about which way I was going on the instrument. I started playing the instrument in 67 and it wasn’t until like 80 something before I really had some idea how to play.<\/p>\n\n\n\n

I mean Howard was doing what he was doing I wasn’t doing that, so I had to figure out what are you doing on the instrument, which direction are you going, how are you going to play it, all that stuff had to be decided. So I’m trying to give them a leg up on making some of those decisions that let them know that they have to be made. You have to figure out which way you want to go. You don’t have to figure out right away, you can kind of let it casually come to you, but it’s going to be a decision eventually you’re going to have to make, you know, and maybe you’ll figure out a third or fourth way of how to play the tuba and continue to develop and evolve the concept of playing the tuba which is great. <\/p>\n\n\n

Publicit\u00e9 panam<\/span>
<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Active on the jazz scene since the mid-1960s, Bob Stewart has played the tuba in all kinds of ensembles\u2014from Dixieland to the groups led by Charles Mingus, Gil Evans, and Charlie Haden, as well as those of Arthur Blythe, Sam Rivers, and Carla Bley, to name just a few. 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