Klarinet Archive - Posting 000346.txt from 2006/04

From: Bill Hausmann <bhausmann1@-----.net>
Subj: Re: [kl] Arnold Brilhart
Date: Tue, 25 Apr 2006 20:28:35 -0400

At 02:52 AM 4/25/2006 +0200, danyel wrote:
>The black ones ('Ebolin' = ebonite) were better than the ivory-coloured
>plastic ones, I think. I recently met Olivier Franc, son of Rene Franc
>(disciple of Sidney Bechet in France) and he plays a very old Brilhart (thus
>spelled on my own vintage Ebolin, btw., I just checked to be sure) #6 on the
>clarinet which he inherited from his father. It sounds very good, somewhat
>like my Link Reso-Chamber (1940s), very open, broad sound. I sold an old
>Tonalin (whitish plastic) that I once bought in New York to a friend who
>likes it a lot while I was never exactly enraptured by it.

I acquired a white Brilhart Tonalin tenor sax mouthpiece in a trade. It
was sitting on a sax displayed on a wall in a winery where I was
playing. I saw that it had a serial number on it, and thus was much too
good to end its days in this manner. I asked the owner about it and he
said I could have it if I gave him another mouthpiece to keep the display
complete. Fortunately, I had an old Martin with an epoxy-repaired chip in
it with me and the swap was made. I had to fix a small ding in a side rail
but otherwise it was in good shape. It is not my favorite mouthpiece, but
it plays well. I once tried playing in a small combo-jazz setting in a
bar, but it was too much of a "paint-peeler" for the gig. I had to hold
back too much!

The OTHER tenor sax on the wall had a New York Meyer on it, but the facing
was badly damaged. :-(

Bill Hausmann

If you have to mic a saxophone, the rest of the band is TOO LOUD!

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