Klarinet Archive - Posting 000152.txt from 1998/02

From: Scott Hill <shill@-----.com>
Subj: RE: klarinet-digest V1 #635
Date: Tue, 3 Feb 1998 16:02:57 -0500

re: opinions on jazz players
check out Eddie Daniel's, the man is state of the art.
He has some incredible chops and a wonderful tone.
If you've never heard him play clarinet, go to the library/store right
now and get a copy of "Eddie Daniels...this is now", on the GRP label or
just about anything else he's done that you can find.
You won't be sorry.

Ken Peplowski and Don Byron are also very interesting adept players. Don
Byron plays on a later Bill Frisell CD featuring covers of Aaron
Copeland and Charles Ives.

Ivo Popisov (spellng may be off) is an amazing Bulgarian wedding/jazz
fusion clarinetist, wonderful stuff.

Joe Lovano also is playing a lot of Alto Clarinet these days. I just
heard a track on KCSM (Bay Area jazz station) with Gonzalo
Rubalcaba(cuban piano player).
Joe Lovano has a lot to say on this instrument and Gonzalo is well worth
a listen. This recording is their latest duet project, the title escapes
me.

Happy listening.
=================
Scott Hill
Benchmark Guru -|----|-
(408) 935-4459
shill@-----.com
=================

>-----Original Message-----
>From: owner-klarinet@-----.us
>[SMTP:owner-klarinet@-----.us]
>Sent: Tuesday, February 03, 1998 11:01 AM
>To: klarinet-digest@-----.us
>Subject: klarinet-digest V1 #635
>
>
>klarinet-digest Tuesday, February 3 1998 Volume 01 : Number 635
>
>
>
>
> Re: opinions on jazz players
> LeBlanc L27 Info Wanted
> Bass clar. articulation
> re High notes
> Re: Bass clar. articulation
> Re: Bass clar. articulation
> How _not_ to ask for help
> test
> RE: How _not_ to ask for help
> Re: Time Pieces...
> Re: test
> Re: How _not_ to ask for help
> Re: Bass clar. articulation
> [none]
> Re: [Fwd: Saran wrap 101 :-)]
>
>----------------------------------------------------------------------
>
>Date: Mon, 2 Feb 1998 22:43:21 -0600 (CST)
>From: "Edwin V. Lacy" <el2@-----.edu>
>Subject: Re: opinions on jazz players
>
>On Mon, 2 Feb 1998, dmr wrote:
>
>> my taste happens to be on the more experimental side of jazz so id like
>> to hear some thoughts on say anthony braxton, eric dolphy and jimmy
>> guiffre.
>
>I have heard recordings of Eric Dolphy playing bass clarinet, flute and
>alto saxophone, but never heard him play the soprano clarinet. No matter
>what instrument he is playing, I think he is or was one of the most
>original thinkers about jazz. He was a product of the time in which he
>made his recordings, so today it is hard for some people to understand why
>he would want to play with so much aggressiveness and to be at the
>forefront of experimentation. I often say about Dolphy, "Be careful about
>listening to him - you might start to like his playing."
>
>I also liked Jimmy Giuffre's playing, but I never thought of it as in any
>way experimental, unless your contention is that he was experimental with
>regard to his tone quality. I think to say that he had an individualized
>and non-traditional sound would be more accurate.
>
>Giuffre and Dolphy are just about at exact opposite ends of the spectrum
>in terms of their musical aesthetic, so it was a little surprising to me
>to see that you included them both in your category of "experimental."
>Still, I like both of them. Right in the middle, about exactly halfway
>between those two, I would put Buddy DeFranco. He plays great stuff in
>the pure bebop tradition. The pity for his career is that he plays all
>those great notes on the clarinet. If he had been inclined to play those
>notes on the saxophone, he might have had a more widely accepted and
>financially rewarding career. Possibly he theorized that he had a better
>chance for a career as a clarinetist because when he got his start, there
>were some pretty outstanding saxophonists on the scene - people like
>Charlie Parker, Sonny Stitt, and Stan Getz, for example. That's obviously
>just speculation on my part, and totally hypothetical.
>
>That should serve to get a discussion going.
>
>Ed Lacy
>*****************************************************************
>Dr. Edwin Lacy University of Evansville
>Professor of Music 1800 Lincoln Avenue
> Evansville, IN 47722
>el2@-----.edu (812)479-2754
>*****************************************************************
>
>------------------------------
>
>Date: Tue, 03 Feb 1998 17:14:49 +1300
>From: Stephen Nichols <stevenic@-----.nz>
>Subject: LeBlanc L27 Info Wanted
>
>Hi All,
>
>Can anyone enlighten me on where my Bb LeBlanc L27 fits into the scheme
>of things? Intermediate? Lower Advanced? No better than a stick with
>holes?
>
>Thanks,
>
>Steve
>
>- --
>Remove NOSPAM, do the deed...
>And then come visit at http://crash.ihug.co.nz/~stevenic
>ICQ number is 4362994
>
>------------------------------
>
>Date: Tue, 3 Feb 1998 00:07:04 -0600 (CST)
>From: Neil Leupold <nleupold@-----.edu>
>Subject: Bass clar. articulation
>
>On the subject of tonguing in the lowest range of the bass clarinet,
>one member (either Roger Garrett or another individual) seemed to
>suggest that getting a clear, easily spoken attack requires that the
>player make contact with the reed at a point lower than its very tip.
>I don't have the original post, so maybe the author can reiterate the
>point for clarification. If I've paraphrased it closely enough, then
>I disagree with the idea. Perhaps it is one of the commonly taught
>methodologies for achieving clean articulation in the lower chalumeau,
>but I have never had to resort to any alteration of the contact point
>between my tongue and the reed, regardless of the range in which I am
>playing. There is flexibility in the contour of my tongue and in the
>shape of my oral cavity, as well as in the speed, focus, and support
>of the air stream, but there is absolutely no deviation with respect to
>where my tongue makes contact with the reed, be it on bass clarinet or
>on soprano. It is tip-to-tip at all times, and I have no problems
>articulating cleanly, slowly, quickly (i.e.; 160), legato, staccato,
>etc. on either instrument, regardless of range. I don't make this
>point for the purpose of disagreement, but to ensure that more than
>one real method is made known to those who are developing their
>articulation skills on either instrument. For some, changing the
>point of contact is the answer. For others, like me, there are
>conventional ways to achieve articulation, in any range, on either
>instrument, without dissolving the consistency of where the tongue
>makes contact.
>
>Something else with which I do not agree is the notion that the
>bass clarinet must be at an appreciable angle away from the body
>in order to form a correct embouchure, as well as to form the
>basis for all other technical issues which follow (i.e.; tonguing,
>breath support, etc.). The phrase I remember from the original
>post was to the effect that the bell is to be placed literally
>underneath the chair between the player's legs, such that the
>instrument protrudes forward at an angle from that resting point
>on the ground. If Roger Garrett made this statement, then I
>understand why, because Laurie Bloom plays this way. I guess
>one question I have is: Is it possible to play with the instrument
>at such an angle without using a neckstrap? I don't use a neck-
>strap, and I also do not play with my instrument at such an angle.
>I sit up very straight regardless of which instrument I'm playing
>(soprano v. bass), and sometimes my bass clarinet is even leaning
>backward toward me, rather than forward and away. This technique
>does not present any problems during practice or performance, and
>I manage perfectly well on Daphnis and Grofe' and Till and Stravinsky
>and so forth. Again, just a separately valid option regarding one's
>approach to bass clarinet technique. We must never get into the
>mindset that there is ever only one right answer.
>
>Neil
>
>------------------------------
>
>Date: Tue, 03 Feb 1998 22:56:35 +1300
>From: David Adlam <dadlam@-----.net>
>Subject: re High notes
>
>I have used the Norman Heim Altissimo Register book with many pupils very
>successfully. It is hard work but worth it. Published by Kendor I think.
>(It is not in front of me at present).
>By the time you finish this book, nothing will ever seem high again and you
>will be able to approach those notes without tensing up, which is really
>half the battle.
>
>David Adlam
>
>------------------------------
>
>Date: Tue, 3 Feb 1998 08:55:06 -0600 (CST)
>From: Roger Garrett <rgarrett@-----.edu>
>Subject: Re: Bass clar. articulation
>
>On Tue, 3 Feb 1998, Neil Leupold wrote:
>> Something else with which I do not agree is the notion that the
>> bass clarinet must be at an appreciable angle away from the body
>> in order to form a correct embouchure, as well as to form the
>> basis for all other technical issues which follow (i.e.; tonguing,
>> breath support, etc.). The phrase I remember from the original
>> post was to the effect that the bell is to be placed literally
>> underneath the chair between the player's legs, such that the
>> instrument protrudes forward at an angle from that resting point
>> on the ground. If Roger Garrett made this statement, then I
>> understand why, because Laurie Bloom plays this way.
>
>I am scratching my head trying to figure out how something I said can
>somehow be connected with Lawrie Bloom's playing? I wasn't aware that he
>played that way......and I watched him solo with the CSO two years ago
>while standing (with a 20-30" peg!)......I don't recall seeing the bell
>anywhere near the area beneath his body or legs.....are you sure? At any
>rate, if you will take time to re-read my post, I said that Olviver Green
>(almost 40 years with the Detroit Symphony) suggested this approach. The
>reasoning behind it was with regard to the nearly straight neck - and
>Oliver's 30 year old Selmer (with low C) has a very straight neck!
>
>> I guess
>> one question I have is: Is it possible to play with the instrument
>> at such an angle without using a neckstrap?
>
>When playing at an angle, no......I used a neck strap all the time until I
>bought the Buffet with the nice, sharply angled neck.
>
>> I don't use a neck-
>> strap, and I also do not play with my instrument at such an angle.
>> I sit up very straight regardless of which instrument I'm playing
>> (soprano v. bass), and sometimes my bass clarinet is even leaning
>> backward toward me, rather than forward and away. This technique
>> does not present any problems during practice or performance, and
>> I manage perfectly well on Daphnis and Grofe' and Till and Stravinsky
>> and so forth. Again, just a separately valid option regarding one's
>> approach to bass clarinet technique. We must never get into the
>> mindset that there is ever only one right answer.
>
>Now we have several viewpoints......a good thing.
>
>Roger Garrett
>IWU
>
>------------------------------
>
>Date: Tue, 3 Feb 1998 10:44:27 -0500 (EST)
>From: SDM@-----. Morrow)
>Subject: Re: Bass clar. articulation
>
>(snipped out previous discussion regarding angle of the bass clarinet
>during playing and possibility that this depends on the angle of the neck)
>
>
>Is the angle of the bass during playing really more of a discussion about
>whether you should play the bass with the mouthpiece at a soprano-type
>angle as opposed to more of a sax-type-horizontal position? I've always
>felt I was "cheating" when I played the bass with the mouthpiece angled
>down (but I do it occassionally, anyway - mostly when I'm playing passages
>in the upper ranges where I feel I have more control in a soprano
>position)!
>
>- -Scott
>
>Scott D. Morrow
>Department of Biochemistry
>School of Hygiene and Public Health
>Johns Hopkins University
>(410) 955-3631
>
>SDM@-----.edu
>
>------------------------------
>
>Date: Tue, 03 Feb 1998 10:55:55 -0500
>From: Mark Charette <charette@-----.com>
>Subject: How _not_ to ask for help
>
>Just a little bit for those who need help:
>
>I run the Clarinet Pages; it's a hobby of mine and I
>thoroughly enjoy meeting (via e-mail, mostly) the people
>who visit. Many people ask me questions on a daily basis;
>if they're on technique or playing or music, I pass them
>to the proper pages or people. If they're on equipment,
>many times I can answer the question myself. I direct people
>to the Klarinet archives. I _don't_ mind doing this, but
>yesterday I got one of the requests that get my dander up.
>Paraphrased:
>
>"Dear Mr. Sneezy,
>I need to know about the Clarinet Warmups by the infamous
>Dr. Spring. Could you email me their location or the article
>ASAP."
>
>Looks pretty innocuous. Except:
>There's a site map on the menu of every blessed page on
>the Clarinet Pages, and in the site map is a heading
>"Warmup and Practice". Surprise - the reference to the
>article is there.
>
>There's also a database on Sneezy that cross references most
>of the text. Searching there brought up the information.
>
>ASAP? I don't think so. Maybe this person has no idea what
>those letters stand for. In fact - probably doesn't. Read on.
>
>I sent a snippy reply back, pointing them to the site map,
>database, and asking if they wanted it ASAP why weren't they
>paying me? I also asked "Why do you consider Bob Spring to be
>evil?" Maybe Bob's students call him infamous - but this
>person isn't a student of his.
>
>Interesting response last night. This person wondered why
>I was snippy (OK - I was a bit rude - but I did point them in
>the right direction), said he doesn't sit in front of computer
>"24/7", and he has to practice and "has a life". I guess I'm
>not supposed to have one, hmmm? He then explained to me that
>"Dr. Spring is a well-known clarinet ... - that's why he's
>infamous." Made me wonder about the ASAP.
>
>So, if you're looking for information - check about a bit
>before asking the question. Most anyone with Web pages or
>who posts regularly on Klarinet would welcome being asked
>questions within their expertise - but please, do it politely,
>don't make demands, and do a little homework first.
>- --
>Mark Charette, Webmaster - http://www.sneezy.org/clarinet
>Web/Personal - charette@-----.org
>Business - charette@-----.com
>"There's already an educational TV channel - it's called 'off'."
> Lily Henderson, age 11
>
>------------------------------
>
>Date: Tue, 3 Feb 1998 11:50:33 -0500
>From: "Buckman, Nancy" <nebuckman@-----.us>
>Subject: test
>
>test
>Nancy E. Buckman
>Anne Arundel Community College
>Arnold, MD USA
>
>------------------------------
>
>Date: Tue, 3 Feb 1998 12:37:33 -0500
>From: "Buckman, Nancy" <nebuckman@-----.us>
>Subject: RE: How _not_ to ask for help
>
>Mark,
>
>This is not in any way meant to demean you or the service that you
>provide to the list, however there have been times when I have wanted
>information which I am sure is available in the archives that I am not
>certain how to access. I am afraid of getting "a snippy response" if I
>ask how, so I just don't bother.
>
>Maybe it wasn't obvious to you, but I don't think the writer of that
>post understood the meaning of the word infamous. It sounded to me like
>he meant to say famous and just has his vocabulary mixed up.
>
>The point is just that e-mail doesn't always imply what is meant to be
>said. I hope I didn't hurt your feelings - this is just another
>viewpoint. Thanks for all you do for Klarinet.
>
>Nancy
>
>Nancy E. Buckman
>Anne Arundel Community College
>Arnold, MD USA
>
>> ----------
>> From: Mark Charette[SMTP:charette@-----.com]
>> Reply To: klarinet@-----.us
>> Sent: 3. helmikuuta 1998 10:55
>> To: klarinet
>> Subject: How _not_ to ask for help
>>
>> Just a little bit for those who need help:
>>
>> I run the Clarinet Pages; it's a hobby of mine and I
>> thoroughly enjoy meeting (via e-mail, mostly) the people
>> who visit. Many people ask me questions on a daily basis;
>> if they're on technique or playing or music, I pass them
>> to the proper pages or people. If they're on equipment,
>> many times I can answer the question myself. I direct people
>> to the Klarinet archives. I _don't_ mind doing this, but
>> yesterday I got one of the requests that get my dander up.
>> Paraphrased:
>>
>> "Dear Mr. Sneezy,
>> I need to know about the Clarinet Warmups by the infamous
>> Dr. Spring. Could you email me their location or the article
>> ASAP."
>>
>> Looks pretty innocuous. Except:
>> There's a site map on the menu of every blessed page on
>> the Clarinet Pages, and in the site map is a heading
>> "Warmup and Practice". Surprise - the reference to the
>> article is there.
>>
>> There's also a database on Sneezy that cross references most
>> of the text. Searching there brought up the information.
>>
>> ASAP? I don't think so. Maybe this person has no idea what
>> those letters stand for. In fact - probably doesn't. Read on.
>>
>> I sent a snippy reply back, pointing them to the site map,
>> database, and asking if they wanted it ASAP why weren't they
>> paying me? I also asked "Why do you consider Bob Spring to be
>> evil?" Maybe Bob's students call him infamous - but this
>> person isn't a student of his.
>>
>> Interesting response last night. This person wondered why
>> I was snippy (OK - I was a bit rude - but I did point them in
>> the right direction), said he doesn't sit in front of computer
>> "24/7", and he has to practice and "has a life". I guess I'm
>> not supposed to have one, hmmm? He then explained to me that
>> "Dr. Spring is a well-known clarinet ... - that's why he's
>> infamous." Made me wonder about the ASAP.
>>
>> So, if you're looking for information - check about a bit
>> before asking the question. Most anyone with Web pages or
>> who posts regularly on Klarinet would welcome being asked
>> questions within their expertise - but please, do it politely,
>> don't make demands, and do a little homework first.
>> --
>> Mark Charette, Webmaster - http://www.sneezy.org/clarinet
>> Web/Personal - charette@-----.org
>> Business - charette@-----.com
>> "There's already an educational TV channel - it's called 'off'."
>> Lily Henderson, age 11
>>
>
>------------------------------
>
>Date: Tue, 3 Feb 1998 12:39:25 -0500 (EST)
>From: Antoine T Clark <s2atclar@-----.edu>
>Subject: Re: Time Pieces...
>
>I Know the label for that cd. Its is Klavier. I think Charles West did an
>excellent job on it.
>
>
>
>
>
>
>
>
>************************
> ANTOINE CLARK
> s2atclar@-----.edu
> Virginia Commonwealth
> Univ.
>
>
>------------------------------
>
>Date: Tue, 3 Feb 1998 12:27:39 EST
>From: JeFf694821@-----.com
>Subject: Re: test
>
>TEST
>
>Jeff Boehmer
>West Virginia University
>Morgantown,WV
>
>------------------------------
>
>Date: Tue, 3 Feb 1998 12:44:44 -0500 (EST)
>From: SDM@-----. Morrow)
>Subject: Re: How _not_ to ask for help
>
>Mark,
> Thanks for the advice! I think it would be helpful to ALL of us if
>you could catalogue all of the questions that annoy you (cross-referenced
>and indexed, of course) and post them on Sneezy so we don't make these
>unreasonable requests in the future! Could you please have this available
>to us this afternoon?
>
>- -Scott "how could all of these spammers have possibly gotten my e-mail
>address so quickly?" Morrow
>
>P.S. Seriously, Mark, thanks for all your efforts!
>
>- -SDM
>
>
>Scott D. Morrow
>Department of Biochemistry
>School of Hygiene and Public Health
>Johns Hopkins University
>(410) 955-3631
>
>SDM@-----.edu
>
>------------------------------
>
>Date: Tue, 3 Feb 1998 12:16:30 -0600 (CST)
>From: Roger Garrett <rgarrett@-----.edu>
>Subject: Re: Bass clar. articulation
>
>On Tue, 3 Feb 1998, Scott D. Morrow wrote:
>> Is the angle of the bass during playing really more of a discussion about
>> whether you should play the bass with the mouthpiece at a soprano-type
>> angle as opposed to more of a sax-type-horizontal position? I've always
>> felt I was "cheating" when I played the bass with the mouthpiece angled
>> down (but I do it occassionally, anyway - mostly when I'm playing passages
>> in the upper ranges where I feel I have more control in a soprano
>> position)!
>
>There are two schools of thought (well, probably more, but we shall try to
>be consice!): Play at the angle the neck presents, whether that be
>straight (saxophone approach) or angled (clarinet approach).
>
>In my opinion, and several others.....many of whom are more famous then I
>can even imagine I will ever be (LOL.....*achem*), you are not cheating by
>angling like a soprano clarinet....in fact, it is my feeling that this
>enhances your playing of the horn. Keep in mind however, that many people
>believe it makes no difference at all.
>
>Roger Garrett
>IWU
>
>------------------------------
>
>Date: Tue, 3 Feb 1998 13:49:05 -0400
>From: Carole Greco <cbgreco@-----.edu>
>Subject: [none]
>
>I know that there was just a post regarding getting information from the
>archives, however, I am having trouble with Netscape and was wondering if
>anyone could e-mail me a copy of any articles regarding double-tongueing
>(the how-to's).
>
>Thanks for your help.
>
>Carole Greco
>
>------------------------------
>
>Date: Tue, 3 Feb 1998 14:05:13 EST
>From: Bafra@-----.com
>Subject: Re: [Fwd: Saran wrap 101 :-)]
>
>Anne wrote:
>>Don't forget to take out your trusty hair dryer and go over the whole
>>instrument to make a shrink wrap coating. It will keep the instrument
>>fresh....
>
>And then, set your clarinet on fire; it will give it back its great black
>color!!!! The Crisco of before will help in the "catching fire" process...
>
>eheh
>Elizabeth
>
>------------------------------
>
>End of klarinet-digest V1 #635
>******************************
>

   
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