Klarinet Archive - Posting 000124.txt from 2001/08
From: rgarrett@-----.edu
Subj: Re: [kl] Re: Vandoren B45/46 mouthpieces
Date: Mon, 13 Aug 2001 12:59:43 -0400
I wrote:
>However, I must clarify that the tip opening alone does not determine if
>the mouthpiece is more appropriate for Jazz or Legit playing. For
>example, I play on a Pyne mouthpiece with a 1.20 tip - and it would
>completely inappropriate for jazz - same with the Pyne I used to play on
>that measures 1.26. They are solid, hard-core symphonic mouthpieces
Ed wrote:
I think that many variables in the mouthpiece, as well as the reed choice
and the approach of the player determine a jazz or symphonic mouthpiece.
Roger responds:
I agree absolutely Ed.
Ed (continued):
I know that some jazz players want a wide open mouthpiece, which can be
almost a saxophone facing (such as the Vandoren 5JB, which I believe is
preferred by Kenny Davern. At the same time last I was aware, Eddie
Daniels used a close tip, the same style as many symphonic mouthpieces, and
used the same mouthpiece for classical performances.
Roger responds:
I have heard the same thing. I have also heard that Daniels carries with
him 5-12 mouthpieces and selects one for a given performance based on his
reeds, his location, the humidity, the way the wind blows (ok, that last
one was just my own addition!!!)..........including a Kaspar amongst
others. But I've heard Eddie Daniels play, and my belief is that he is a
rare player who can play on many different kinds of mouthpieces and
mouthpiece facings/tip openings - much like John Yeh can. Some people can
do that. A large number of folks cannot...........
Ed wrote:
Frank Glover (a pretty amazing jazz player), who will be playing at the
clarfest in the jazz concert with Ken Peplowski uses a Pyne PK. I am sure
that the style of the player and their music as well as personal taste
contributes a great deal.
Roger responds:
The Pk is much different from the 1.20 "M" and the 1.26 S13 that Shifrin
gave me (and used to play in the Cleveland Orchestra). I really don't
think anyone would use either of these mouthpieces for jazz - although they
could be used for jazz. I use them in the Symphony - and I have played
Rhapsody in Blue and various other works in which jazzy sounds and vibrato
were appropriate. My original comment was:
"For example, I play on a Pyne mouthpiece with a 1.20 tip - and it would
completely inappropriate for jazz - same with the Pyne I used to play on
that measures 1.26. They are solid, hard-core symphonic mouthpieces."
When I said "They are solid, hard-core symphonic mouthpieces," I meant that
these two mouthpieces that I own are really ideal of the application of
symphonic music. I didn't say they couldn't be used for jazz just
inappropriate compared to other mouthpieces out there. My feeling is that
there are other mouthpieces available that most jazz musicians would prefer
before they chose these. That's all that I meant. I guess the words,
"completely inappropriate" were probably not well chosen.
I believe it was the original poster who mentioned that a 1.20 tip opening
was a "jazz opening" (meaning a tip opening appropriate only for jazz - or
primarily for jazz). It was this comment I was disagreeing with. In a
sense then, Ed and I are very much in agreement. I believe there are
always exceptions to certain general rules - and the classes I place
mouthpiece facings and designs into have many of those!
Best wishes,
Roger Garrett
Roger Garrett
Clarinet Professor
Director, Symphonic Winds
Illinois Wesleyan University
School of Music
Bloomington, IL 61702-2900
Phone: (309) 556-3268
Fax: (309) 556-3121
"A man never discloses his own character so clearly as when he describes
another's."
Jean Paul Richter (1763-1825)
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