Klarinet Archive - Posting 000558.txt from 1995/04

From: Thomas Labadorf <Labadorf@-----.COM>
Subj: Re: Why not?
Date: Fri, 28 Apr 1995 20:48:18 -0400

Lee Callet wrote:

"None of the greats sacrifice tone. It's too important."

Whoa, partner! You got me all wrong. I meant no criticism when I said "jazz
clarinetists sound the way they do." I was responding to the original
posting of this string that described a jazz clarinet sound as thin and
bright(can't remember the exact words because I trashed the original
message). When I read that, I immediately remembered some dixieland
clarinetists I've heard that had that same quality of tone. Jazz clarinet
tone has come a long way since then, but you have to admit that a jazz tone
is different than a classical tone. But _just_ different. Not better or
worse.

"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."

No question! Eddie Daniels is my most favorite clarinetist of all time
because he can play both classical and jazz with a beautiful, flowing style
and tone. His facility on the instrument is flawless in whatever range up to
double high 'c'! As good as that is, what really puts him above the best of
clarinetists is his talent for playing his mind whether it be jazz or
classical. Listening to Eddie play music is like listening to him talk. It
sounds that natural. In other words, he's beyond negotiating the F7 chord.
My comment: "The medium doesn't seem to concern them (or me) much ***at the
time*** except that it's not inhibiting their expression of ideas." Of
course, these masters spent a lot of time on their sound. You can read
Eddie's dedication on his Breakthrough album to know that: "A very special
thanks to my son Joshua, for putting up with my incessant practicing." (p.
5, CD liner notes), but, of course, listening is the best indication.

You don't have to spend much energy convincing me. I have a lot of
admiration for the great jazzers - especially Eddie.

I have one contention with your message:

"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."

Strength of reed does not aways indicate amount of resistance. The same reed
will play with different resistance on different mouthpiece. Yes, these guys
sound great, but strength of reed is not a very good indicator of quality of
sound.

Well, ok. Let me have it.

Tom L.

   
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