Cello Is My Co-Pilot (Part 2) — by Jeffrey Zeigler

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Cello Is My Co-Pilot (Part 2) — by Jeffrey Zeigler

I am, of course, a cellist writing to other cellists. So discussing the torment that we all have to go through when we travel with our instruments is, naturally, preaching to the choir. In fact, I wrote a blog post here on CelloBello a few years ago on the topic hoping to give some helpful tips to cellists (Cello Is My Co-Pilot). And in addition to my post, there are quite a few individuals that have written many extremely helpful articles and blogs geared at helping cellists all over the world deal with the hassles of travel. The information is definitely out there to know the basic guidelines that should be followed in order to handle pretty much 99% of the situations that one will face during air travel.

So why write “Part 2” you ask? The simplest answer is because of the recent events that our own “CelloBello” founder, Paul Katz had to experience. Since the moment that I read the Boston Globe article (Flying With a Cello Is One Traveler’s Nightmare, August 12, 2012), I have to admit my head has been in a bit of a spin.

Although I have been in the touring biz for a few fewer years than Mr. Katz, I would imagine that my experiences traveling with my cello and the tools that I have learned along the way are quite similar. However, the thing that I find most shocking is that his story does not match anything that I have ever experienced with any airline.

While each and every airline can still have their own set of rules pertaining to musical instruments, thanks to the new “Passenger Bill of Rights” (you should download a copy and carry it with you when you travel), we are now guaranteed the right to buy a seat. At least domestically–Mr Katz’s “nightmare” took place on WestJet, which is a Canadian-based airline. But as we have discussed before, it is still important for us to know what model aircraft you are flying on, as some model planes only have bulk head seats in First Class.

But this is where my head does a twist (and cellists everywhere, please correct me if I am wrong):

I think that WestJet is the only airline that simply does not allow cellos. Period. No First Class ticket option. No, “I’m sorry but there is no bulk head seat.” Just “No”.

In the most difficult situations that we face, we may be forced to purchase a First Class ticket if there is no bulk head on a particular aircraft in Economy Class. But WestJet’s flat out “No Cello” policy sounds way way out of the boundaries of, well, the policy of every other airline on the planet!

Their stated excuse, that “their seat belts aren’t rated to carry an instrument,” is quite frankly rubbish. As Paul Katz clearly stated on his NPR Talk of the Nation interview (Skies Less-Thank Friendly August 27, 2012), “You can put a 250-pound man under one of those seat belts. But for some reason, it’s not rated to carry a 14-pound cello, which is about the size of a 10-year-old child.” The reasoning doesn’t fit any stream of logic.

So I would like to open this discussion up to any person who could answer one very simple question for me:

We pay full price. We sit in a bulk head window seat so as to not obstruct any other passengers in case of an emergency. The cello is quiet and does not eat or consume any beverages. Public safety is obviously a very important issue when flying. But traveling cellos DO NOT POSE ANY PUBLIC SAFETY ISSUES. So why in the world are cellists being singled out and being harassed?! I would actually think that the airlines would prefer to have a plane full of passengers who pay full price, sit through the entire flight, who never get up and always stay quiet.

How many of you readers have ever been unnecessarily stopped going through security or boarding an aircraft? For me, I cannot count the number of times.

And finally, if you or somebody you know is a flight attendant or a TSA officer, could you please join into the discussion?

By Jeffrey Zeigler|2017-10-30T05:19:02-04:00November 1st, 2012|Categories: Cello Travel|Tags: policies, security, FAA, Jeffrey, Travel, TSA, Zeigler, WestJet, travel with instruments, airline regulations|

About the Author: Jeffrey Zeigler

Described by the New York Times as “excellent”, and a player who performs “with unforced simplicity and beauty of tone”, Jeffrey Zeigler was the cellist of the internationally renowned Kronos Quartet for eight seasons. One of the most celebrated and influential ensembles of our time, Zeigler has performed over a thousand concerts worldwide, has premiered over 200 works and has collaborated with many of the world’s most versatile and innovative composers and performers. In the process, Zeigler has played an integral role in redrawing the boundaries of the string quartet medium.

Zeigler has been the recipient of the Avery Fischer Prize, the Polar Music Prize, the President’s Merit Award from the National Academy of Recorded Arts and the Chamber Music America Richard J. Bogomolny National Service Award among others.

Zeigler has given many notable premiers including works by John Adams, Laurie Anderson, Damon Albarn (of Blur and Gorillaz), John Corigliano, Philip Glass, Henryk Gorecki, Vladimir Martynov, Steve Reich, Terry Riley, Valentin Silvestrov and Peteris Vasks to name a few. Notable collaborations include Asha Bhosle, The Bang on a Can All-Stars, jazz pianist Billy Childs, Noam Chomsky, The Merce Cunningham Dance Company, Philip Glass, Paul Hillier, Zakir Hussain, Nine in Nails, the great Azerbaijani singers Alim and Ferghana Qasimov, Afghani Rubab virtuoso Homayoun Sakhi, pipa virtuoso Wu Man, Tom Waits and Howard Zinn.

The 2013/2014 Season will see the launch of a number of new projects and collaborations. Highlights include a duo with Laurie Anderson and a trio with the experimental pianist Hauschka and the Finnish rhythm master Samuli Kosminen. Both of these collaborations premier at the River to River Festival in New York City. Zeigler will also be giving the world premier of a new Cello Concerto by Canadian composer Scott Good with the Vancouver based jazz band, The Hard Rubber Orchestra. Additionally, Zeigler will be premiering a number of newly commissioned works by Kyle Bartlett, Nimrod Borenstein, Anna Clyne, Bryce Dessner (of The National), Mohammed Fairouz, Jesse Jones, Glenn Kotche (of Wilco), Richard Reed Perry (of Arcade Fire), Paola Prestini and John Zorn.

Mr. Zeigler has appeared as a soloist with the Los Angeles Philharmonic, the Toronto Symphony, the Royal Danish Radio Symphony, the Basel Symphonie, the Brooklyn Philharmonic and the Sioux City Symphony and has performed under the batons of Seiji Ozawa, Christoph Eschenbach, Michael Tilson Thomas, Leonard Slatkin, Robert Spano, Sir Roger Norrington, Mstislav Rostropovich, Peter Oundjian, James Conlon, John Adams and Dennis Russell Davies.

Over the course of his celebrated career, Mr. Zeigler has released over a dozen recordings for Nonesuch Records, Deutsche Grammophon and Smithsonian Folkways and has appeared with Norah Jones on her album “Not Too Late” on Blue Note Records. Zeigler can also be heard on the film soundtrack for Darren Aronofsky’s film, “The Fountain” featuring music by Clint Mansell and including performances by the Scottish band, Mogwai.

Jeffrey Zeigler holds a Bachelor of Music degree from the Eastman School of Music at the University of Rochester where he was a student of Stephen Doane, and a Master of Music degree from the Shepherd School of Music at Rice University where he served as the Teaching Assistant for Paul Katz. He then continued his studies at Indiana University under Janos Starker. Mr. Zeigler has also studied at the Britten-Pears School in Aldeburgh, England where he was a pupil of William Pleeth and Zara Nelsova. He is also the recipient of an Honorary Doctorate of Fine Arts degree from the Cornish College of the Arts.

Zeigler served as the Cellist-in-Residence at Texas Christian University and as a Visting Lecturer at Indiana University at Bloomington. Recently, Zeigler was appointed to the Cello Faculty at Mannes College The New School For Music. This season, he will also be a Distinguished Visiting Professor at the University of Oregon.

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