 The Clarinet BBoard
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Author: Late_returner
Date: 2020-04-18 15:27
I would be grateful if anyone could suggest reed / mouthpiece combinations that would give me a best chance of approaching the sound of my all time favourite jazz clarinettist, Johnny Dodds. I am hoping that someone can put it simply rather than all about decimal mm of facing length etc. I suspect back in the 20s 30s life was simpler and choices fewer.
I know that he played Simple / Albert clarinets and that my beautiful Boehms can never fully replicate that, even if I had the talent. But I'm hoping this isnt a terminal problem. ( Also i see that photos show him with a spare clarinet on a stand, ( not a Eb) suggesting he would alternate Bb and A ? )
I recall reading a quote where he said " Sidney and I both played on reeds so thick that nobody else could get a note from them", which is surely contrary to the view that soft reeds are necessary for the bends and scoops he was master of ? but may explain the wonderful low register tone ?
My thanks in advance for any help.
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Author: Paul Aviles
Date: 2020-04-18 16:15
I would think ALL of us will agree on this one.
You mention up front, the key issue which is "bending" pitch. This to me is all about having the flexibility in a reed. For lack of a better description I would draw the analogy to a "musical saw." The more you bend it, the higher the sound; the less you bend it, or place it under tension the lower the sound.
So on some level you would need a more open mouthpiece and perhaps a softer reed.
The perhaps comes in your technique. Where I use a small opening for control and snug up close to the point where reed and mouthpiece come together (taking in as much mouthpiece as possible before you cannot create a sound other than a squeak), one could very easily take an open mouthpiece with a much harder reed (than one might normally believe practical) and play that much closer to the tip. In that way you are playing the reed under tension. Relaxing from the "ideal" would allow you to scoop lower, while squeezing from there would raise the pitch.
I think there is a practical limit below the norm where you can get a pitch but I have to admit that as a classical player I never really explored that end of things. I DO know that a "pitch vibrato" is much easier with a more open mouthpiece for sure. But as you say about a quote from a top jazzer, maybe their technique was dependent on being able to release tension more (by using a harder reed). Of course reeds will bend (like any wood under heat with moisture and pressure) so that technique (if that's what is is) may also be dependent on more frequent switches to new reeds (maybe).
One other component. I found that clarinets with more undercutting of the tone holes allowed for easier pitch bending. Back in the day it was definitely the Selmers that had that edge over Buffets which is why classical players gravitated toward Buffets and jazzers went with Selmers.
..................Paul Aviles
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Author: Fuzzy
Date: 2020-04-20 06:02
Hi Late Returner!
Neat question.
I'm not certain I'm in the camp of believing you can achieve a similar sound by using similar gear though...or that it is even beneficial to try. Especially in jazz, a player's resulting sound has a lot to do with the player. The technique, the tendencies, the approach, the physical makeup, the embouchure (especially the embouchure), the air support, tongue position, fingering/placement, etc.
I would think there are many paths in which a person could "approach the sound" without starting with the same gear...or even similar gear.
I'm somewhat doubtful - even if given the gear Johnny Dodds played on, that a person would be able to approach Johnny's sound. For instance, Tim Laughlin plays one of Pete Fountain's old clarinets. While both players had/have that nice "fat" sound...I don't feel their overall sound is the same. They still each have their own wonderful sound.
I'm not offering this as discouragement, but rather encouragement. Don't let the gear (or lack thereof) prevent you from pursuing the sound you're after.
Warmest Regards,
Fuzzy
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Author: Jura82
Date: 2020-04-21 01:37
Try mouthpieces in range 1.15 to 1.30 mm tip opening. There are lot's of them on the market: Vandoren B45, B45 lyre, Morgan RM28, Selmer HS**, Daddario Reserve x15e and x25e, Portnoy BP2 and BP3, crystal Vandoren A3, Pomarico Diamond or Jazz*. If you like sax sound on clarinet, try Vandoren 5JB, but be careful, it's VERY OPEN (1.47 mm)
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