Klarinet Archive - Posting 000009.txt from 1995/01

From: John Blegen <blegen@-----.US>
Subj: Opinion, Stolzman, Theo. Presser
Date: Mon, 2 Jan 1995 10:23:03 -0500

I, too, applaud Dan Leeson's defense and illustration of opinion, and I
agree that I'd like to see a little less repetition on the list.
Although, I must admit, that the reed-and-barrel choruses often have some
interesting twists in the repetitions. I do think that newcomers should
review what's been said.

As I read Elaine Thompson's view of R. Stolzman, I felt a little strange.
It's been my hope that S's "legit" playing was where his reputation lay.
Since I approach it from the jazz side, I've always felt that his jazz
playing is a nice gesture toward this side of the street, just as Benny
Goodman's attempts at committing Mozart are "interesting." Now, unlike
Dan's treatises, this is an opinion based on feel, gut reaction, and,
truth be told, not a lot of listening or analysis. But I think my
reservations about S.'s jazz work stem from two elements: rhythm and
sound. The performances that I've heard simply do not swing. I know that
this is hard to defend, but, to my mind, this is the center of jazz
playing and, in fact, the most difficult part to absorb for someone coming
from outside of the idiom. As far as sound is concerned, this is even
more difficult to discuss, but my impression is that S. has some of the
jazz clarinet sound vocabulary reversed (how's that for going out on a
limb?) -- harsh when he should be mellow and vice versa. Anyway, I have
been assuming and hoping that R.S.'s non-jazz performances are his
strength. He is certainly a formible player and I one I very much respect.

Finally, Theodore Presser Co. is in Bryn Mawr, Pa. (just west of Ardmore!).

*********************************************************************
John Blegen / Glenview Public Library / blegen@-----.us
1930 Glenview Rd. / Glenview, IL 60025 / (708) 729-7500, FAX 729-7682