 The Clarinet BBoard
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Author: Beth
Date: 2003-01-25 17:28
I have been honored to have been asked to perform "Sing Sing Sing" (with all of Benny Goodman's solos written out) with my university's big band this spring. As much as I am really excited, I'm a bit concerned. I've done very much work as a classical clarinetist, but none as a jazz clarinetist. I'm sure the more I listen to jazz, the more comfortable I'll become with the music itself. But I need some advice concerning embouchure and set-up. Is there a slightly different embouchure suitable for jazz playing than classical playing? And how about mouthpieces, ligatures, and barrels? My current setup is this: Gregory Smith 1+ mouthpiece, Rovner ligature, 3 1/2 V-12 Vandoren reed, and Buffet Moennig barrel. Any suggestions for changes? Or while I'm at it, any tips for playing some Benny?
Thank you so much in advance.
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Author: Beth
Date: 2003-01-25 17:34
forgot to mention the actual clarinet part of my set-up: buffet r-13.
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Author: Liquorice
Date: 2003-01-25 17:54
The best thing you could do is learn the solos from listening to the record. Don't even look at the written out solos! Try to copy Benny's sound, rhythm (EXACTLY where he puts the notes around the beats), his phrasing, accents, articulation, etc. etc. If you can manage to do that, then you will learn a lot! Use whatever set-up helps you to get "Benny's sound".
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Author: Don Berger
Date: 2003-01-25 19:32
I second Liq's advice, BUT, listen to B G, and when you have the chords in mind, dont be afraid to "do it your own way", changing riffs, lip-slurs etc to the way you feel and like to finger it. To me thats what jazz is. Heard Eddie D a while back, and thot that I would change from [{if} written out] his highly technical to easier-for-me fingering passages. Much luck, relax, have fun, Don
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Author: L. Omar Henderson
Date: 2003-01-26 02:33
Get your money right after the gig (next week never happens!), don't drink too much during the set, never lend money to sax players (my best friend is one), have fun and sync with the other players. Listen to as much jazz as you can and separate out the technical from the innovative and dissect the latter for riffs that you like. Never leave your horn out of your sight. Try different styles - don't reject any until you have heard at least three people who play it well. Have fun!
The Doctor
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Author: John Kelly - Australia
Date: 2003-01-26 02:46
Rovner lig OK, 3+1/2 Vandoren reed great, even Benny couldn't play that strength (so I'm told), don't know the other equipment you mention as I play Albert system with an Italian barrel and a 5JB m/p.
Listen and learn from the records is good advice, and check out the players who originated from New Orleans from 1917 onwards. Lots of people mention Goodman, Shaw, Daniels and etc on this board, no problem there at all, but I'm just suggesting that you should listen closely to the N.O. players too - it's their music.
Cheers,
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Author: Sandra F. H.
Date: 2003-01-26 02:51
If you are in the Boston, MA area look up John Payne in Brookline, MA for some jazz lessons. Listen to as many recordings as possible, including Eddie Daniels (on clarinet, not sax). There are many older recordings on LP that are not on CD, as well. Try getting Jamie Abersole's cd/book course on jazz, and learn some jazz scales. They are in the books. ...and have fun!
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Author: Ken
Date: 2003-01-26 21:53
If playing "Sing, Sing, Sing" is going be a "one time shot" and you intend on transcribing a written out solo I don't see the point of spending money on any jazz imrov methods and big dollars on CDs ... borrow a few somewhere instead. Besides learning the solo itself (with an extended open chorus) practice time would be better spent refining "style"; swing 8ths, longer/connected phrases, high register wailing/projection, leading the band mindset and developing a tight, controlled vibrato. If it was me I woudn't waster any money on equipment changes either, what you have will get the job done.
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Author: Allen Cole
Date: 2003-01-27 02:34
I agree with Ken. Style is your most important consideration. I don't know which Sing, Sing, Sing solo is being provided to you. Benny recorded it in the studio on Bluebird records, and there is quite a famous Carnegie Hall version. Considering that you're going to be a featured soloist, I recommend getting both CDs and listening to them.
Technically it won't be too bad. Practice major scales/arpeggios and diminished chords. (used as a substitute for V) There are few blues scale things. Practice your solos with the recordings, and listen to those recordings in the car. They'll clue you in to Benny's style.
While it may be true that Benny was using a softer reed/open mpc. than you, the setup you're using sounds sufficiently flexible to me. I recommend that use a setup that you're truly comfortable with, and mimic his BLOWING. A lot of what you're looking for will come as a result of blowing lots of air through the horn.
Trust me, I was a jazz soloist with a community band last spring and my regular setup worked just fine.
Good luck. Gee I'm kinda jealous...
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Author: Mark Sloss
Date: 2003-01-27 12:52
Listen, Listen, Listen! before you Sing, Sing, Sing. Goodman, Miller, Dorsey, Ellington, Riddle, etc. etc. etc. ad infinitum.
Transcribing one of BG's solos is a good exercise to get it in your ear, but I would be willing to bet somebody out there has already done it if you would rather spend the time listening and practicing than scribing.
Try not to play the BG solo note-for-note, or it will sound labored (e.g. square), and you will run the risk of making a mistake and getting totally bollixed in performance. Look for the essential melodic and stylistic elements and get those under your fingers. Play along with the album a bunch of times until you land on something comfortable and musical.
Finally, your rig is fine. If your university stage band is true to form, they'll play too loud and won't know how to work dynamics around a clarinetist. You might want to ask for a mic if your sound is swamped.
Best piece of advice I can give though is to be very deferential to the members of the band. Don't walk in like a prima donna because somebody in the sax section is likely already p*ssed off they didn't get the solo. If you make a good connection with them, you might be able to get the reeds to give you some pointers (just watch your wallet), and the rhythm section might be persuaded to let you blow changes for a few minutes before or after rehearsal to get comfortable playing your solo for real.
Good luck. It is a Fun, Fun, Fun chart!
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Author: super20dan
Date: 2003-01-27 22:37
insist on a mike or your effort could very well be in vain!the above advice about the rest of the band being to loud is correct and you will be drowned out unless you have a mike . i have tons of big band clarinet experience and trust me the band is always too loud.your set up will work provided you have a mike.there is a lot of very good abvice mentioned in the other posts and all of it true!
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