The Plutopia podcast welcomes Sumner Erickson, who discovered the tuba in sixth grade by chance and, at 18, won a job with the Pittsburgh Symphony Orchestra after studies at the Curtis Institute. He recalls globe-spanning tours (Europe, Japan, China, Russia, Brazil), collaborations under André Previn, and contrasts between orchestral and other touring lives. Erickson’s new book, Actors of Sound, blends musicianship and mindfulness: music as emotion and sound, playing from a flow/“remote control” state, and the principle that music includes technique — not the reverse. He discusses body-use methods (Alexander Technique, Feldenkrais), embouchure insights, labrosones, and his patent work leading to a new brass mouthpiece venture, Unified Performance. Now a long-time teacher, he’s writing children’s songs and performing some of his brother Roky Erickson’s material, reflecting on joy, presence, and sustaining a deep, respectful relationship with one’s instrument.

Sumner Erickson:

I’m there, 18 years old. They had just told the seven people in the finals that they had selected this 18-year-old kid to be the tuba player in the Pittsburgh Symphony. So they pulled me into the office and they offered me a contract. And the manager looks at me, the assistant manager, he goes, you ever been to Europe? I’m like, no. He says, we’re going next spring. And the first stop was Bonn, Germany, and the first stop in Bonn, Germany was Beethoven’s birthplace. I mean, it was just, you know — how amazing to get to have those experiences and repeatedly go back to Europe. And we did seven tours of Japan, we played China, we went to Russia, we went to Poland. We always had to go to big enough places that could bring in a concert — a symphony orchestra, full symphony orchestra. So we didn’t go to little places often. But, you know, been on the beach in Rio, on the wall, in China, in the Kremlin. In Red Square