Klarinet Archive - Posting 000099.txt from 2004/10

From: "Lacy, Edwin" <el2@-----.edu>
Subj: RE: [kl] Lack of clarinet parts in jazz arrangements
Date: Tue, 5 Oct 2004 12:19:41 -0400

From: R. Williams:

<<<What I do see as a likely answer is the lack of current arrangements
for=20
jazz ensembles featuring the clarinet. As to which occurred first, I
don't=20
know. Did composers stop writing for the clarinet or were clarinets
disappearing and composers simply writing to their market?>>>

My analysis is that jazz musicians themselves made the determination
that the tone quality of the clarinet was not as readily compatible with
the current jazz styles. This occurred primarily during the period just
after World War II, when bebop was the prevailing style. The
overpowering influence of Charlie Parker and all of the many
saxophonists who emulated him or at least were influenced by him had a
great deal to do with this also.

The fact that the clarinet was popular in traditional jazz is not
particularly relevant to the discussion of contemporary styles. Also,
even though we can point to many outstanding jazz clarinetists in the
swing era, including such as Benny Goodman, Artie Shaw, Woody Herman,
Jimmy Hamilton, and dozens of others, for the most part these players
were soloists and not generally regarded as an integral part of the
woodwind section of the band. In instances where the clarinet was an
important part of the woodwind texture, such as in the Glenn Miller
Orchestra, those players were generally not utilized as soloists to the
same degree.

But, when trying to name important jazz clarinetists of the period 1945
- 1975 or so, the list of players is noticeably short. The main name
that comes to mind is Buddy DeFranco.

Jazz composers and arrangers are generally jazz performers as well, and
as such, they are aware of the types of sounds that the great majority
of jazz musicians prefer in various situations. This phenomenon is not
limited to the clarinet - it also accounts for the fact that the oboe,
bassoon, French horn, harp, flute, violin, and other important and
commonly used instruments are not often found in the standard
instrumentation of jazz bands.

If anyone wants to rectify this situation for the clarinet, it will be
necessary to start with important and influential jazz performers
themselves. They will have to be convinced that for over a half-century
their ears have been deceiving them into believing that the tone quality
of the clarinet is not the most compatible sound for what they want to
express in their music.

Ed Lacy
University of Evansville=20

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