 The Clarinet BBoard
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Author: Guy Bisson
Date: 2002-05-24 16:58
Does anyone have any thoughts on how best to achieve a period New Orleans/Benny Goodman Jazz sound. To my ear clarinet's of the 1940s and 50s sound completely different to modern instruments. But I have also heard a number of modern day players who achieve a similar sound both in live performance and on recordings. My research so far, including talking to jazz muscians who play in this style, has produced three schools of thought:
1/ Use a period instrument manufactured in the 1940s/50s.
2/ Use a very open mouth piece with soft reed.
3/ Use an albert system clarinet.
Does anyone have any thoughts or experience in this area? Also, being based in the UK I have seen "American Pitch" mouthpieces for sale. How do these differ from other mouthpieces and what effect do they have on sound.
Thanks
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Author: Paul
Date: 2002-05-24 20:39
I think the number 2 answers is your best bet. Good luck! Paul
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Author: ken
Date: 2002-05-26 13:47
Guy, appears you've asked the right people and already got a good idea on the kind of sound you’re after. As for brands of clarinets, I wouldn't get "wrapped around the axle" or cave to advertising hype, always trust your "ear" and go with your own musical instincts. It's ALWAYS skill, conceptual approach, application and experience...not the hardware. I myself, supposedly go against the grain by blowing jazz on a Leblanc Opus which at least in America is advertised/preferred by many top players as an orchestral horn. As for equipment/set-up, the older and original Leblanc Pete Fountain models with gold-plated keys are very sweet sounding horns and popluar with many jazzers...but tough to find and pricey.
Choices to consider might be a combination of a larger bore Bb horn (15mm) and to start, “any” open/medium-open tipped mp…a crystal or duck-billed Morgan on 2 1/2 to 3 strength reeds specifically. For ligs, a million opinions but you do want one that promotes the cane to vibrate more freely. Less is more, plastic, string, leather...BG and Eddie Daniels lines are good for jazz. Also, the older Harrison ligs are sparsely designed. This all can help to a certain degree achieving an authentic sound NOT the "end of the world". I'm not sure what an "American pitch" mp is unless it refers to tuning. Instruments produced for the American market are usually pitched at A=440 while their European counterparts at A=442 or higher.
All the American jazz players past and present I've ever heard all use(d) Bb Boehm system horns. And, "to my ear", there's a distinct difference in sound/approach between even traditional New Orleans-style and 30-40s swing era. Generally, the swing era style applies a tighter more controlled vibrato and darker sound while the turn of the century New Orleans/trad/Dixieland style has a more raw, brighter, even spittier sound with wider vibrato and less attention to pitch center, depends on the individual musician and concept.
v/r KEN
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Author: diz
Date: 2002-05-27 06:53
Ken - spot on. Glad to hear your Leblanc works well for you out of it's supposed comfort zone - I've got my eye on a new Leblanc, just need to save me pennies (not a Pete Fountain -- too expensive).
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Author: Colin Farquhar
Date: 2002-06-01 19:30
HI There:
I play in both a big band and two dixieland groups, and have used both my Leblanc Esprit and my Selmer *RI* with great success. The more I play and listen, the more I realize it's the player, not the horn! (Although there is a certain coolness factor to walk into my university jazz band class with a 1930's vintage clarinet <hehe>)
Colin Farquhar
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