His focused and driving mission to create something new in the arts world is revealed in expanding the language of modern jazz via the tuba. “Even for the hip, he has a lot to say and a lot to impart. Take a listen to his work—and be prepared to be amazed.
—Marilyn Lester
Once upon a time the venerable tuba was the foundational time-keeping instrument of a jazz band, mainly because its deep bass register meant it could be heard (the upright bass was sometimes used for indoor gigs). An early proponent of the tuba as an integral part of jazz was Louis Armstrong, especially with his Hot Five group. But by the 1920s, particularly with microphone technology advances, the double bass replaced that big brass beauty in the lineup. Today, tubists form a relative minority of jazz players, but now, with tubist extraordinaire Ralph Hepola foremost, the undying value of the tuba is being rediscovered and appreciated—not only as a lead horn but as a solo instrument. Just listen to any one of his 51 recordings and 49 video productions to hear what a tuba can do, and it’s a lot.
For his playing excellence and mission to enlighten listeners (and also those within the music/jazz community) of the wonders of the tuba in contemporary jazz, Hepola is one of three musicians to receive a grant via a 2024 John Stites Jazz Award (JSJA), funded by the John Stites Jazz Artist Organization. In awarding the grants, the JSJA Review Committee was looking for artists committed to new and innovative approaches to jazz. As a musician who plays the language of contemporary jazz on the tuba, Hepola fit the bill. The JSJA grant-makers also had a mandate that the awardee be proactive in increasing jazz awareness. Hepola fit that profile with a history of robust national and international experience, and an outstanding record of furthering the intergenerational and cross-cultural appeal of jazz. The grant has thus enabled him to tour, promoting America’s art form, highlighting the importance of the modern tuba in it.
Since the tuba’s contraction in jazz, the instrument became most associated with symphony orchestras and marching bands. Hepola has performed in both: as an extra musician with the Minnesota Orchestra while still in high school and in the United States Army Band of Washington, D.C., for example. The Minnesota-born Hepola began studies on the piano, but took up the tuba at age 12, quickly mastering the instrument. After graduating Northwestern University with a music degree his career took off immediately. His credits include several international symphony orchestras and simultaneous jazz collaborations and gigs; a full list is impressive and massive. Hepola has accomplished so much in his playing life to date that he could fill up the resumes of several musicians, let alone one.
As cited by the JSJA, Hepola is “totally focused on a new and innovative approach”—the core of which is playing musical ideas that saxophonists, trumpeters and pianists play on their instruments. For those who think “ump-pa” when it comes to the tuba, that erroneous concept is immediately dispelled when Hepola’s virtuosity is heard. His focused and driving mission to create something new in the arts world is revealed in expanding the language of modern jazz via the tuba. Hepola’s platform is informed by a keen study of jazz and playing the phrases that jazz musicians have played over the history of the genre. There’s been inspiration, not only from protojazz, i.e. James Reese Europe’s Harlem Hellfighters, but from more recent sources too. Miles Davis had tubist Bill Barber play on sessions for Birth of the Cool and Miles Ahead. Marcus Rojas often performed with Henry Threadgill, and beginning in the mid-1950s, Stan Kenton had one of his trombonists double on tuba.
By standing on the shoulders of those who came before, Hepola is able to build on that artistry with his own creativity and knowledge; since the tuba is a valve instrument it is essentially like playing a trumpet, the sound is produced by lip vibration, except it’s two octaves lower. Moreover, a tuba isn’t just one instrument; they’re found in various pitches and configurations, as are most instruments. The saxophone isn’t one thing, for instance—at the least saxophones come as sopranos, altos, tenors, baritones and basses. So, for the range of tubas, the potential for musical exploration is tremendous. Hepola, who plays an F tuba (about half the size of a contrabass tuba) thus can be heard applying his creative ideas to a wide range of jazz genres including blues, bebop, ballad, fusion, Latin and even instrumental rock standards.
In 2017, The Southwest Minnesota Arts Council awarded Hepola an Individual Artist Career Grant. The Minnesota State Arts Board awarded highly-competitive Artist Initiative Grants to him for both 2010 and 2012. In 2004, he completed a seven-week residency at the Wurlitzer Foundation (awarded internationally) in the arts community of Taos, New Mexico. These endorsements clearly affirm Hepola’s vision. Based in Springfield, Missouri, ever-ready to travel where he can spread the word about the glories of the modern jazz tuba, he, in many respects, has just begun. For the uninitiated, who might claim they “don’t like jazz,” or think of the tuba as a quaint instrument, Hepola is committed to changing that thinking. Even for the hip, he has a lot to say and a lot to impart. Take a listen to his work—and be prepared to be amazed.
~Marilyn Lester, marilynlester.com
For his playing excellence and mission to enlighten listeners (and also those within the music/jazz community) of the wonders of the tuba in contemporary jazz, Hepola is one of three musicians to receive a grant via a 2024 John Stites Jazz Award (JSJA), funded by the John Stites Jazz Artist Organization. In awarding the grants, the JSJA Review Committee was looking for artists committed to new and innovative approaches to jazz. As a musician who plays the language of contemporary jazz on the tuba, Hepola fit the bill. The JSJA grant-makers also had a mandate that the awardee be proactive in increasing jazz awareness. Hepola fit that profile with a history of robust national and international experience, and an outstanding record of furthering the intergenerational and cross-cultural appeal of jazz. The grant has thus enabled him to tour, promoting America’s art form, highlighting the importance of the modern tuba in it.
Since the tuba’s contraction in jazz, the instrument became most associated with symphony orchestras and marching bands. Hepola has performed in both: as an extra musician with the Minnesota Orchestra while still in high school and in the United States Army Band of Washington, D.C., for example. The Minnesota-born Hepola began studies on the piano, but took up the tuba at age 12, quickly mastering the instrument. After graduating Northwestern University with a music degree his career took off immediately. His credits include several international symphony orchestras and simultaneous jazz collaborations and gigs; a full list is impressive and massive. Hepola has accomplished so much in his playing life to date that he could fill up the resumes of several musicians, let alone one.
As cited by the JSJA, Hepola is “totally focused on a new and innovative approach”—the core of which is playing musical ideas that saxophonists, trumpeters and pianists play on their instruments. For those who think “ump-pa” when it comes to the tuba, that erroneous concept is immediately dispelled when Hepola’s virtuosity is heard. His focused and driving mission to create something new in the arts world is revealed in expanding the language of modern jazz via the tuba. Hepola’s platform is informed by a keen study of jazz and playing the phrases that jazz musicians have played over the history of the genre. There’s been inspiration, not only from protojazz, i.e. James Reese Europe’s Harlem Hellfighters, but from more recent sources too. Miles Davis had tubist Bill Barber play on sessions for Birth of the Cool and Miles Ahead. Marcus Rojas often performed with Henry Threadgill, and beginning in the mid-1950s, Stan Kenton had one of his trombonists double on tuba.
By standing on the shoulders of those who came before, Hepola is able to build on that artistry with his own creativity and knowledge; since the tuba is a valve instrument it is essentially like playing a trumpet, the sound is produced by lip vibration, except it’s two octaves lower. Moreover, a tuba isn’t just one instrument; they’re found in various pitches and configurations, as are most instruments. The saxophone isn’t one thing, for instance—at the least saxophones come as sopranos, altos, tenors, baritones and basses. So, for the range of tubas, the potential for musical exploration is tremendous. Hepola, who plays an F tuba (about half the size of a contrabass tuba) thus can be heard applying his creative ideas to a wide range of jazz genres including blues, bebop, ballad, fusion, Latin and even instrumental rock standards.
In 2017, The Southwest Minnesota Arts Council awarded Hepola an Individual Artist Career Grant. The Minnesota State Arts Board awarded highly-competitive Artist Initiative Grants to him for both 2010 and 2012. In 2004, he completed a seven-week residency at the Wurlitzer Foundation (awarded internationally) in the arts community of Taos, New Mexico. These endorsements clearly affirm Hepola’s vision. Based in Springfield, Missouri, ever-ready to travel where he can spread the word about the glories of the modern jazz tuba, he, in many respects, has just begun. For the uninitiated, who might claim they “don’t like jazz,” or think of the tuba as a quaint instrument, Hepola is committed to changing that thinking. Even for the hip, he has a lot to say and a lot to impart. Take a listen to his work—and be prepared to be amazed.
~Marilyn Lester, marilynlester.com
