 The Clarinet BBoard
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Author: martin
Date: 2003-07-31 21:37
Refering to an earlier post. The clarinet in jazz may not be as common as it once was but is still alive and well, especially in small groups. Over the last month Kenny Davern, Ken Peplowski, Evan Christopher, Allen Vache, Bubby deFranco, Don Byron and Tony Scott all performed in Manhattan.
Traditional jazz, jazzy Caribbean sounds, bebop, post bop, third stream and hard swinging versions of standards were all represented. What stuck me was each player had his own distinct sound and style.
Martin
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Author: David Spiegelthal ★2017
Date: 2003-07-31 21:48
And what was the total number of people that heard those performances? Compared to a Brittany Spears (or whatever) concert?
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Author: martin
Date: 2003-07-31 22:13
I was referring to quality of performers and availability to audiences if you seek them out.
Martin
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Author: Synonymous Botch
Date: 2003-08-01 11:11
Britney Spears makes me long for real talent in the Pop world...
Ya know, Celine Dion, Madonna, Bobby Darin, Milli-Vanilli, Tonya Harding...
If she sells tix, Clear Channel will book her act.
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Author: David Spiegelthal ★2017
Date: 2003-08-01 13:57
Sorry to cause the topical divergence, Mark......the point I was trying (and failed miserably) to make is that when someone writes that the clarinet is becoming 'popular' again, I feel obliged to say that the two main genres in which clarinet plays a major role, classical and jazz, are both 'niche' markets in the music world with very limited audiences compared to the various forms of pop music --- nothing like the first half of the century (pre-WWII, that is) during which big band jazz was in fact the 'pop' music of the time and had a large audience base, and in which the clarinet figured prominently. Despite the slight resurgence in clarinet exposure currently and the excellent performing talent out there, the music we on this BB love is still, let's face it, very much outside the mainstream of what the rest of the people out there listen to.
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Author: Mark Charette
Date: 2003-08-01 14:18
David Spiegelthal wrote:
> Sorry to cause the topical divergence, Mark
That wasn't the problem ... the descent to pop icon bashing was.
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Author: ken
Date: 2003-08-02 00:04
One other dimension (though remote) to consider was the contemporary big bands and instrumentation of the 60s, 70s and 80s. Compound that with the Top 40 commercial horn line groups of the day and the jazz clarinet is all but non-existent. Many of these groups found a good paycheck touring the American high school/college circuit and in turn, influencing 10s of thousands young eyes and ears. Big sound, full 22-piece mother ships like Stan Kenton, Maynard Ferguson, Woody Herman (he played a lot more alto sax then clarinet in the 7 concerts I saw), Buddy Rich, and some Doc Severinsen. Parallel the trend with pop rock/jazz fusion bands such as Bill Chase, Chicago, Blood, Sweat and Tears, Tower of Power, and Earth Wind and Fire. Still more, Lew Tabakin/Toshiko Akyioshi and Rob McConnell Boss Brass, etc. Those glory days are long gone, but NONE of these fine ensembles (other than Woody and the occasional doubler on bass) incorporated clarinets in an effort to highlight the horn or promote it as a viable jazz voice.
And, may I offer a personal and public thanks to Thad Jones/Mel Lewis and Eddie Daniels for grabbing a clarinet instead of a tenor sax one night long ago at a gig in Munich. One short, unpretentious but historic 16-bar solo on a tune called “Little Pixie” contributed more to the survival and revitalization of today’s jazz clarinet then when Benny blew his first open solo on Sing, Sing, Sing. That solo alone got him on the TDWR poll in Downbeat and national attention...and the rest his history. v/r Ken
Post Edited (2003-08-02 00:08)
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Author: martin
Date: 2003-08-02 13:16
Of course the clarinet in jazz is a niche market, I never wrote it was becoming popular to the masses. But there was a full house, of appreciative listeners at he 92nd St Y the other night and Buddy deFranco and clarinet friends were packing them in at the Iridium for a week in June.
Many of the players have shedules that keep them busy around the country. One can still see and hear jazz clarinet performers who are quite alive in more ways than one.
Martin
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Author: JMcAulay
Date: 2003-08-03 19:24
Can someone post the name of any institution of higher learning that supports a "Jazz Ensemble" (aka Big Band) which includes Clarinets? I do not know of any.
Thanks and regards,
John
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Author: allencole
Date: 2003-08-03 20:35
Virginia Commonwealth University made projects some years ago of major works by Duke Ellington. A clarinet was not added to the section for this, but for several years running they had a strong clarinet player in the band.
As far as consistently promoting the instrument, I haven't seen anyone do it.
Allen Cole
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Author: Mark Pinner
Date: 2003-08-03 23:17
Not a week goes by where I don't do at least 2 gigs playing jazz clarinet. Often it is a double alto/ clari or tenor/ clari and just as often clarinet by itself. Likewise with commercial gigs, Oompah/Polka etc.. There is an issue that jazz clarinet is not taught or encouraged in jazz courses. I think the explanation lies in the fact that most of the teachers see any jazz prior to 1960 as being irrelevant. Audiences still seem to get a buzz out of the clarinet especially in more intimate and accoustic settings; the old big band favourites are still being played as well. There are still some of us out there flying the flag.
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Author: JMcAulay
Date: 2003-08-04 01:06
Mark Pinner wrote of: "...the fact that most of the teachers see any jazz prior to 1960 as being irrelevant."
Mark, perhaps that's a fact where you are, but I do not believe it even comes close to true in the US. I observe a great deal of respect for older Jazz forms and instrumentation, but there seems to have developed in this country in the last 30 years or so the idea that a Jazz Ensemble needs four or five saxophones, and that's it in the reed department. I do not understand the reluctance of directors of these groups to use Clarinets, and I suspect I never will. But I cannot believe it is because they consider Jazz of the time prior to 1960 to be "irrelevant."
Regards,
John
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