Klarinet Archive - Posting 000518.txt from 1995/04

From: Lee Callet <LCallet@-----.COM>
Subj: Re: Why not?
Date: Thu, 27 Apr 1995 23:01:10 -0400

Tom Labadorf wrote:

*Jazz is much more a mental art than an audible one. When you're blowing
over a few chords, much more of your concentration is spent on scales,
arpeggios, turn arounds, II7 V7 I, ideas, etc. than on your tone.

*A light set-up is easy to play, and gives more flexibility for jazz nuences.
[Remember, the origin of jazz comes from black folk and work songs. These
songs became the blues and were "sung" on instruments with the same (or as
close as possible) inflections.] With an easy blowing reed comes the
flexibility to do this on clarinet and, (sorry, Dan) a bright sound.

*On that same line, Jazz is an expression of what you are thinking. The
instrument is only the tool used to portray your thoughts. Listen to Eddie
Daniels or Charlie Parker or any other successful jazz artist, and you know
what I mean.
. When I hear great jazz players, I hear their ideas. The medium
doesn't seem to concern them (or me) much at the time except that it's not
inhibiting their expression of ideas.

All this sounds a bit abstract compared to your question, but I think they
lead to why jazz clarinetists sound the way they do. I don't see why a legit
sound wouldn't work in a jazz setting as long as it feels free enough to
allow your ideas to flow. I would almost prefer a legit clarinet sound with
jazz........"

What do you mean, jazz clarinetists sound "the way they do." With all due
respect, Eddie Daniels sounds like a consummate CLARINETIST, regardless of
the musical style. Benny Goodman and Artie Shaw and Buddy DeFranco play with
beautiful controlled tones, and right-on pitch. Charlie Parker, Paul
Desmond, Stan Getz, Gerry Mulligan and countless others produce tones that
reflected dilligent study of tone, and exhibit great ears, to be able to
strive toward and achieve those tones. That they could also negotiate the F7
chord, and then make it all swing as well, only attests to the great artistry
of these clarinet and sax players. They didn't just pick any old instrument
and make any old sound, just so they could be JAZZ GUYS. Only by having
these great sounds as a foundation are they free to improvise, but retain all
the tonal qualities that make them great artists and not just note players.
I think the best improvisers for the most part have always had the best
sounds.. Listen to Coltrane.Listen to Johnny Hodges, or Phil Woods. Most of
these guys I have mentioned also played on hard set-ups. Bird was infamous
for his #5 Ricos. None of the greats sacrifice tone. It's too important.
Lee Callet

   
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