Klarinet Archive - Posting 000368.txt from 1996/12

From: "Dan Leeson: LEESON@-----.EDU>
Subj: Re: Al Gallodoro
Date: Thu, 12 Dec 1996 15:42:30 -0500

There is little that I can add about Al that has not been very well
said on this list. I always considered him one of the very best players
in New York, and that was, at the time, like saying one of the best
players in the world. His saxophone playing was astounding and so
beautiful it was heart-stopping.

But when he did the Hora Stacatto, I got turned off FAST. To me this
was nothing more than showing a remarkable technical ability that
served no useful purpose in music. Al was playing at the same time
that a guy named "Unus" was with Ringling Bros. circus and he would
come out and climb a flagpole and stand on one finger on the top of
the flagpole. That's all he did. That's all he could do. Big deal,
so what.

But Al was a multiple threat player who did that dumb Hora Stacatto
more because he could do it than for its musical value. This does
not speak against him so much as it speaks against the style of music
whose purpose is to show superficial technical values.

Gallodoro's playing of the Brahms quintet was and remains a marvel.
I still have it. I still listen to it. I still marvel at his ease,
his dead-center intonation. I suspect that Al was not well known
outside of NY because he was a studio player and not first with a
particular orchestra (not that he could not have done it).

In many respects I compare him to Jimmie Abato, former bass clarinet
at the Met who was and remains a multiple threat musician of
extraordinary competence. Fabulous saxophone player, too, just like
Gallodoro.

I was told that Al plays with a town band somewhere in upstate
New York. That must be one hell of a band!

====================================
Dan Leeson, Los Altos, California
(leeson@-----.edu)
====================================