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JE: Can you share a bit about your other horns in general and what it was that you were looking for to directly achieve in the new Patterson model?
GK: That really is at the heart of this entire project and how it started. When I first met Jim it was to adjust some issues on that current triple that I was using. I realized we were just trying to reengineer things to fit my taste. So before we went too far down that rabbit hole, I pushed and maybe begged a little for Jim to make a triple based on his current models of horns. I was very excited about what he was currently making and his horns hit a chord (no pun intended) with how I like an instrument to feel. I don’t think I needed to do much convincing. Anyway, my first triple needed something that gave me more of a return on the energies I was putting in to the instrument. It did everything right, nothing wrong but still left me wanting more from it. I like to say that I was looking for something with body and character. I know that sounds like such a vague nothing statement but sometimes those descriptions are better felt then put to words. Also, that first triple was primarily used in smaller orchestras and smaller halls. When I brought it to Phoenix and a full orchestra and 2100 seat hall is when I really felt what I was missing. So the search began for my next horn.
JE: So it sounds like mostly that instrument was too lightweight to suit the orchestra and hall in Phoenix. Then you switched to another horn …
GK: As I moved on to triple #2 I felt at first that I was there. I had used the next horn for close to 2 years. But, from the beginning the one issue that was a constant was a speed issue, it really felt awkward in my hands and disconnected. It had the life and drive and sound but I could never get past the horn feeling slow in my hands. And, for faster technical parts of the repertoire I always felt like I couldn’t catch up to what was happening around me. I preface all this by saying that I really took years to address and come to these conclusion. It’s not as if I picked up the horn and dropped it after a week. We’re talking 10 years on one, 2 years on the next and 3 years on the following instrument. I really wanted to be conscientious between what issues were mine and what which ones were inherent in the horn. Again, my search was continuing forwards. As I moved to the next instrument I started to miss the previous ones. I know, we are never happy as performers and sometimes hindsight allows us to see the bigger picture. But still, I was very happy to have moved on to triple #3. My largest issue on #3 was that the 3 horns didn’t feel balanced as a whole unit.
JE: Explain for readers what you mean by balance in this context.
GK: I mean separately they felt like great horns, but from top to bottom I felt like I was missing that consistency that we spoke of earlier. Playing on the descant side alone was very nice. Playing on the double mid range of the horn, again very nice. And playing in the bottom register of the horn, very nice. However, as you would transition between the horn and use it as a full chromatic instrument it felt like it had 3 distinct personalities. I was much happier with this horn then my previous two triples for a multitude of reasons. But still the issues of having to work a little too hard for this horn to line up as an entire unit kept me pursuing another instrument.
When Jim and I met and we started to talk about all this, I knew we were seeing eye to eye about these various issues. And, it is a great luxury to have him only six hours away by car.
So the process began. His horn is so well balanced from top to bottom, feels wonderful in the hands and has that soul and character that I have been looking for. I don’t know how he took my vague words and brought them to reality, but he has. This is a real gem to have out there and the hope is that it gets the distinction it deserves.
JE: The horn will be on display at the IHS Symposium in Memphis, I look forward to trying it there!
Photo courtesy of Patterson Hornworks; for more see their Facebook page.
Return to part I of the interview with Gabe Kovach.
