30 Year Anniversary of Landell Flutes
An Interview with Father and Son
by Catherine Thompson

As I have been interviewing and preparing notes from the conversations with the flute maker John Landell, I thought it would be appropriate to include a few testimonials from other industry colleagues:

“Congratulations to flute maker Jon Landell…also a great tool maker and a great veteran of the trade.” - Flute maker, Alexander Eppler

“John Landell is one of our innovative flute makers and has done some interesting things…namely his experiments with head-joints and his work with different materials. It will be interesting to see where his work with the Titanium flute goes. He has a beautiful tool shop and workplace where he’s also done so much to help train people from all over the world. I’ve sent a lot of people to him. He’s always been a gentleman in the business…and that’s something in this business!" – Flute maker, David Straubinger

Jon Landell, Sr.

To those who have attended Flute Conventions and Flute Club events you may remember him as the friendly and relaxed man standing beside his flutes with a sincere smile. His modest manner and honesty have no doubt been factors in his success these past 30 years with his persistent efforts to make quality handmade flutes.

John Landell was born in Philadelphia, PA (1946). He began playing the flute in 3rd grade and later attended the New England Conservatory where he studied flute with James Pappoutsakis. His frequent visits across the street to the acclaimed flute maker Verne Q. Powell eventually took him on another path. It was there that he learned to make parts, build flute bodies, and solder parts in preparation for ‘stringing’.

An accomplished flutist, he later visited southern France where he studied with Jean-Pierre Rampal at his Summer Music Academy in Nice. His musical influences and growing interest in flute making eventually coincided into a new venture and career path. John’s visits with the innovative English flute maker Albert Cooper (who was at the time making 6 flutes a year without electricity, forged and cast by hand!) encouraged and enabled his own inventive nature, as well as established a friendly relationship with one of the instrument’s greatest innovators of the 20th century. In 1972 he built his first Landell flute for English flutist and soloist, William Bennett. This first Landell flute was produced using the old sand casting methods, forged key cups and was produced using his own dyes. This was the first flute in America to use the Cooper geometry.

During his 30 years producing flutes with his own trademark – John Landell has proved to be one of our most inventive makers. Not just a flute maker, he is an excellent toolmaker offering flute technicians a tune-up manual, tone hole files, special pliers, burnishing tools, pin driver, and leak meter. He has also forged a strong reputation as a teacher with the founding of his Vermont Guild of Flute Making, Inc. in 1982, where he conducts seminars in flute making and repair. Included with his mission to share technical knowledge, he also has established himself as a flute maker to be sought out by flutists for restoration, head joint cloning, and exquisite engraving, along with his customized flutes. His patient and diligent research with the Titanium Flute and the new Argentium Flute are some of his most significant contributions to date.

Many European orchestral flutists have espoused his ability as a flute maker and support his concept of sound in flute making. Such flutists as Maxence Larrieu, Patricia Lynden, Feliz Manz, Benoit Fromanger and former American pedagogues and soloists Murray Panitz and Julius Baker are just a few of the many professionals who have ordered his handmade flutes.

I invite you to familiarize yourself with John Landell through this interview as well as meet one of the newest faces in flute making, his son, Jonathan Landell, Jr.

- Catherine Thompson, Editor – American Flute Guild

June, 2005

American Flute Guild Editor: Referring to your philosophy and approach to the work, in the 30 years of your company’s existence – what do you feel has been the most consistent factor or experience in your flute making?

Jon Landell, Sr.: My basic view is that the handwork involved makes it possible to get better and better. Just like flute playing… the more you practice along with the combined years of experience, one gets better and better.

Artisan at Work

As an artisan, this gives me an opportunity for flexibility and spontaneous improvements.

We see better and better flute players because of this same approach. I approach the work of flute making much in the same manner. And sometimes moments of “I can do this differently” occur which offers me an experience to see the creative ‘play’ of work.

As far as consistent factors, aside from the handmade aspect, I still play all of the flutes. After completing them I keep them for several weeks to play them and add finishing touches with each order. I’ve always promoted the “One man – one flute” approach.

AFG: In 30 years, what do you feel has changed the most in contrast to your early years?

Jon Landell, Sr.: The design of my head joints has changed the most. Previously, my head joints were modeled on more traditional designs of former makers… and now the new style that has developed over the years is much easier to pick up and play. The sound just comes out right away.

Also… the pads have changed. Earlier, padding was so frustrating, but the Straubinger pads I use now provide more stability. I don’t need to spend as much time shimming them because they are perfectly flat to begin with.

AFG: In 30 years, what has been your biggest challenge in flute making… and what do you feel – to date thus far – is your biggest accomplishment? What are you most proud of?

Jon Landell, Sr.: Paying the bills! (Laughter) And as far as what I’m most proud of… I would say the ‘ball-bearing mechanism’. I like the lightness and stability of it. And the Titanium flute… I’m still working on it. I’m going to master that beast! And of course our new Argentium flute – just completed!

AFG: Yes, you’ve always exhibited some manner of clever innovation and standard of quality. There is an obvious sense of mission. Perhaps you’d like to describe your sense of mission with your work and/or the seminars?

Jon Landell, Sr.: I feel, particularly with the seminars a mission to bring flutists into the technical realm. Everyone that attends has different goals – some to gain more knowledge, some to work on improving their skills, others have more career-oriented goals. Every person benefits from the time spent here.

AFG: How long do you think it takes to learn flute making?

Landell and Students

Jon Landell, Sr.: I have other projects in progress. As one moves ahead… as you get older accomplishments become hurdles… the process of making flutes is endless! Look we have 9 fingers to play 12 notes…the instrument is always interesting.

AFG: What makers do you admire the most? Who do you feel has had the biggest influence on you?

Jon Landell, Sr.: Albert Cooper, Verne Powell, and Theobald Boehm.

In the 1970s I spent time with Albert Cooper. We always had a good relationship. He was an amazing guy. He drew mechanical drawings for me and he’s been very inspiring to me as well as supportive. As for Theobald Boehm, he composed, taught, had children and grandchildren and still managed to be such an innovator in the history of flute making! Boehm lived to be 88 and lived his whole life in the same house! And Verne Powell not only was a great flute maker he was also an outstanding flutist. How he managed to make flutes and maintain his playing…it’s amazing.

AFG: How did your association with Verne Powell begin?

Jon Landell, Sr.: I met him while I was a student at the New England Conservatory. Back then in my college days there was the picture passed around of Mr. Powell bent over his bench for hours and weeks making someone’s flute. This made an impression on me that has lasted my whole life. At that time we waited 4 years for our flute. My flute was #2662. Later I worked 2 summers across the street at his shop and after graduating from school I worked full-time for several years. I learned a lot working there.

AFG: When did you leave?

Jon Landell, Sr.: I started my own business in 1971. Then after my divorce I went back to Powell factory working for them as well as on my own.

AFG: How satisfying has it been to be involved with research with the Titanium and Argentium material?

Jon Landell, Sr.: It’s been very rewarding. I enjoy learning, researching, conceptualizing. I enjoy the experience of “What would happen if…” It’s very satisfying.

AFG: What ever gave you the motivation to pursue working with the Titanium material?

Jon Landell, Sr.: If you remember that at some point the changes to the scale eventually led to a new market – a lot of flutes have since been made with the Cooper Scale. I believe that the next logical path is the realm of new materials in flute making. It’s the ‘space race’ of the flute business! Prior to 1990 we did not see a lot of high tech use of materials. Now we see other industries, for instance in aerospace experimenting with different materials.

AFG: So that’s what gave you the idea?

Jon Landell, Sr.: I also had read an interview in the Woodwind Quarterly with Sandy Drelinger. He was mentioning the new metals like Titanium. He remarked that he thought the likelihood of a new flute in an innovative material would likely come from a smaller maker rather than a bigger flute company because the bigger companies tend to be “married to their tools”. So that also gave me the notion to pursue working with Titanium.

AFG: What do you like about the Titanium metal and what attributes does it offer a flute player?

Jon Landell, Sr.: It’s very light and comfortable and it has a brilliant sound. Why do you think the older antique flutes are so highly prized for their sound? It’s because the metal is harder. The Titanium metal is very hard, yet not heavy and it also has a brilliant sound like the older flutes. My wife thought I was crazy and she is really the hero in all of this. With all the expense and time it’s required… she still believes in me.

AFG: How many flutes have you made so far in Titanium?

Jon Landell, Sr.: There’s the one prototype and there is another flute I’m in the process of making…plus I’ve made about 40 head joints in Titanium.

AFG: Since Sandy Drelinger’s interview in Woodwind Quarterly was part of your initial inspiration – have you ever spoken with him or has he ever commented about your efforts or accomplishment in building a Titanium flute?

Jon Landell, Sr.: No I’ve never spoken to him directly, but it meant a lot to me when I introduced the flute at the New York NFA Convention…I was walking down the aisle and he very directly stuck his hand out and shook my hand. That’s not a frequent gesture and I appreciated it very much.

AFG: What do you like about the performance quality of the Titanium material?

Jon Landell, Sr.: As I mentioned earlier, the Titanium has a particular brilliance and to flute players it may at first seem harsh or very bright, but I think that is mainly due to the sound they have in their ear which is often referred to as ‘dark’ is really ‘dull’. To me it’s sweeter and brighter, and it has a great capacity for projection. At Straubinger’s shop we tested it and it was louder than a particular Platinum flute he had in his shop by another maker. And don’t forget the Titanium flute is so much lighter than a Platinum flute.

AFG: Have you made any Platinum flutes?

Jon Landell, Sr.: No…actually no one has ever asked. I’ll make a flute in anything except wood.

AFG: And the Argentium flute that you have just introduced…how does it compare or improve the standard silver currently used?

Jon Landell, Sr.: The Argentium material sounds more like silver and is less brilliant a sound than the Titanium. In comparison to silver it can take more air and its limits for expression are far-reaching. We can harden it more than silver and I believe a harder flute responds more quickly.

AFG: It will be interesting to see the responses of flutists when they try the flute. I know New York Philharmonic Principal Flutist – Robert Langevin will be playing the flute this weekend. I look forward to speaking with him about how it plays in the orchestra. In addition to your admiration for Robert Langevin, who are some of your favorite flutists?

Jon Landell, Sr.: There are many flutists I do admire but Maxence Larrieu is one of my favorites. I don’t think many flutists in this country know him, but I love his playing. It’s just perfect phrasing, expression, and he has flawless technique. He also has my very first Gold Flute #12.

AFG: Which brings up the question - how many flutes have you made thus far? (a collector question!)

Jon Landell, Sr.: We just finished #181, which just so happens to be the Argentium flute that my son made.

AFG: Will you ever make a piccolo?

Jon Landell, Sr.: (Laughter) I think somebody else can do that!!!

AFG: You have such exquisite engraving skills – where did you learn?

Jon Landell, Sr.: I studied engraving years ago with a German Engraver – Gerhard Schmidt. Engraving is hard to learn – my son is learning right now. My mark has changed over the years as you’ll see – I now use a different font.

Landell Engraving

AFG: Does it ever get in the way?

Jon Landell, Sr.: Well, the downside could be that what I think is a good head-joint for me – is it good for everybody? I have a concept in my inner ear… the Pappoutsakis sound. He was my teacher. He had a gorgeous sound. I do realize people can have different concepts. And I work to get under their ideas and concern myself with what they want in a head-joint. You realize of course that there are 2 distinct sets of embouchures – ‘the frowners’ and the smilers’. The main thing is that they not be rigid.

AFG: Yes, there are many embouchures out there. Speaking of which, do you get to play very much anymore?

Jon Landell, Sr.: No, not so much…not as much as I would like.

AFG: Where did you learn tool making and where does one learn these skills today? How important is it to know how to make one’s own tools?

Jon Landell, Sr.: I think it is essential to know how to make ones tools. As far as learning, time and experience, talking to toolmakers over the years and reading books have also taught me a lot… but the machines teach a lot too!

There was a time when business was quite slow. I managed to get a job at the University of Vermont working in the model shop. In retrospect – the great skills and concepts that people shared also provided a real learning experience. I changed and improved my shop as a result of that time.

AFG: What do you enjoy the least in the flute making process?

Jon Landell, Sr.: The things I enjoy the least…that would be padding and repair.

AFG: And enjoy the most?

Jon Landell, Sr.: Building the bodies, finishing the keys.

AFG: Many of us that are familiar with your work are aware of your personal sense of integrity that goes into each and every flute. Is there anything else you would like to share about your approach or work ethic?

Jon Landell, Sr.: My basic and fundamental purpose that has had the greatest impact on my work ethic is my religious awakening in 1976. This religious connection has helped me flourish in my own life. It gave me a level of maturity. Often it seems that it takes a desperate event to bring this awakening about. But it was a life-changing experience for me. My flute making improved as I became more concerned with my own integrity and accountability. There was a complete-ness about what I was doing. The creativity involved as I made a flute helped reflect back to me the teachings of spirit. I developed a stronger presence while working and a greater awareness of many things in life, too. My Christian frame of reference continues to provide meaning for me and help me to be more content. Flute making can seem very repetitious but with my own personal and spiritual growth every part of the job became significant in a new light! Everything in my flute making… and in life is significant!

AFG: Your personal approach does aid others to create musical harmony as well your own inner harmony. It comes through in your work. In the history of flute making what would you like to be most recognized for?

Jon Landell, Sr.: The outstanding feature that I focus on is the handcraftsmanship and the concept of sound that is available. There is a definite color, flexibility of sound, intonation and response that I strive for

Jon Landell, Jr. & Jon Landell, Sr.

Questions for Jon Landell, Jr.

AFG: Was it hard to relocate back to the East coast after going to school in California?

Jon Landell, Jr.: When my Father was ill, my boss was very nice to let me take time off and return to Vermont to help with things. I would come home a month at a time. It gave me the chance to think about what might be the best thing to do for my family and for myself. Eventually, I arrived at the decision that the rat race wasn’t what I really wanted. The frenetic pace wasn’t worth it. It’s good to be back. Working for self and the family is a good thing. I’ve come to realize that being in a family business is one of the best things. There is a level of comfort I don’t think one gets in other workplaces.

AFG: Other than your father – have you gained skills from other makers or elsewhere?

Jon Landell, Jr.: We are blessed here. With the seminars we have quite a few professionals and talented people pass through our doors. Everyone has some tip or trick – which is nice for me. I would like to learn from other flute makers, but the way the industry is – I don’t see many opportunities. It is a ‘reluctant’ industry with regards to teaching others.

AFG: What do you hope to bring to the future of Landell Flutes?

Jon Landell, Jr.: Well, I see the future of Landell Flutes positioned in the changing nature of small business in America. The changing economics is one factor, but even more so the changing face of the customer. Until now, flute makers have been creating their business model on early 20th century model of business flow. We need to see what the new flow is and adjust to a model for the future.

I hope I can help share knowledge about how the flute works. I am particularly disappointed at the high level of ignorance amongst flutists. There is a very poor level of education about how the instrument works and many are just the victims of advertising.

AFG: I agree and that is part of the mission of American Flute Guild – to provide a forum and vehicle to educate and connect the flutists with the flute makers. How is your goal related to this issue?

Jon Landell, Jr.: I’d like to see flutists having more savvy - like the people in the recording business. I’d like to work to create more informed customers. There are 2 edges in the flute community – the customers are different than they were 20 years ago. They have more access to information, more inclined to spend money for quality, and they are look for a moral paper trail. I think there is a spiritualized take on consumerism these days. People are increasingly concerned with where a product comes from and who is making it…at least on the high end. Having more education in the industry and about the industry creates a win-win situation. The more educated the consumer – the better for the maker. Perhaps, if people were more educated about what goes in to making a flute – they’d have the thought: “If this is what I want in a flute, maybe I need a smaller maker.”

AFG: What was it like growing up in this atmosphere of ‘flutes’?

Jon Landell, Jr.: Well… you don’t notice it until you leave it… then you miss it. The only time it is shocking is when other people see it! It’s the air I breathed. There were definite advantages to growing up with home schooling and being around my Father in his shop everyday. I have lots of happy memories – cleaning the shop, running errands – getting him his Snapple and candy bar, and me banging out parts in the back of the shop – all good memories. Everything was integrated. I grew up in a unified environment versus growing up in a fragmented environment like many people.

AFG: What do you enjoy about flute making?

Jon Landell, Jr.: I like the complexity of it. Building the body is magical to me. Taking all these random parts and seeing that develop. I guess I would say I enjoy ‘stringing’ the flute. I like pushing myself to the edge along with working for self and the family.

AFG: What don’t you like?

Jon Landell, Jr.: Sometimes it feels overwhelming. Perhaps with experience I’ll feel less of that.

AFG: Do you have your own innovative ideas?

Jon Landell, Jr.: I’m not sure I should say, but there is always more to do! The Boehm flute today still hasn’t reached the level of perfection like a Violin. We are all still tweaking it!

AFG: What do you feel is your biggest contribution so far with the company? What skills do you feel you bring to the table?

Jon Landell, Jr.: I’ve helped a lot with the Internet, the website and the flow of communication. I think that the Internet will continue to provide new ways of communicating and creating psychological awareness for companies. The web is very democratizing – perceptually – it levels the playing field between small business and bigger corporations.

I have the drive to do better. The level of care, and time, and love that goes into each instrument – I enjoy that along with the quality results of effort. My biggest challenge is that I don’t play the flute. And this is something I will have to address. But I never get bored or locked down on just one thing! I’m definitely my Father’s son. That’s how we are similar. (Jokingly and with laughter) Another way that we are also similar, we’re both bad with names, right Dad?

AFG: What is the biggest difference between the two of you?

Jon Landell, Jr.: I’m more focused on the big picture, the communication, the marketing, and thinking about business trends. I’m always looking ahead of the curve. My Father, he is good at hunkering down and dealing and chipping away at a problem or a project. An example is the Titanium flute. I, myself, am a little less patient with that process. I am always looking at the big picture. I’m good at stepping back for perspective and he’s good at diving in with details. We balance each other with our independent approaches.

AFG: What do you admire most about your Father and his place (success) in the industry?

Jon Landell, Jr.: His constant mission for the next best thing, for instance, ‘why the Titanium flute?’ – his curiosity impresses me.

AFG: Do you ever feel intimidated or inspired because of him?

Jon Landell, Jr.: Absolutely. Seeing most people talk about him – praising him – it’s a kick in the pants. But, the coolest thing is seeing people happy about their flute. It’s inspiring to be part of this business embodied in the decades of tools and instruction – to see the continuity of it passing over from one generation to the next. I think one really has to keep it in the family. Look at the Straubingers as an example of another Father-Son team. It brings an entirely other aspect to this business. You have inbred loyalty and a loving dynamic to support the business. It raises the stakes. It’s your job, but so much more – you just can’t walk away!

To learn more about Landell Flutes and the Vermont Guild of Flutemaking, contact Jon Landell at www.landellflutes.com or call 802-434-4317