 The Clarinet BBoard
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Author: SmittyWerbenYegerman
Date: 2012-06-22 02:34
Can we please go back to the days where clarinets were the feature of jazz bands instead of saxes? Am I the only one who thinks that jazz/blues clarinets are awesome?
Post Edited (2012-06-22 02:36)
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Author: Merlin_Williams
Date: 2012-06-22 02:51
Jazz has bigger issues than whether or not clarinets or saxes take prominence.
If you prefer clarinet as a jazz solo instrument, seek out those performers live and on record. There are lots of great players to check out.
Jupiter Canada Artist/Clinician
Stratford Shakespeare Festival musician
Woodwind Doubling Channel Creator on YouTube https://www.youtube.com/c/WoodwindDoubling
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Author: andrewcsq
Date: 2012-06-22 02:52
In my mind at least, the disappearance of the clarinet from jazz bands can be attributed to varying degrees to the factors below (in order of significance, to me):
a) There have been no outstanding cultural icons that have enshrined the clarinet in the public conscience. Lisa Simpson (I'm just barely old enough to be part of the Simpsons' generation) has anchored the (tenor) saxophone in the public conscience as a "cool" instrument. Contrast that with Squidward (from Spongebob Squarepants). He's the quintessential loser in the show whose clarinet tone rivals mine in its mediocrity.
b) Sadly there has not been a "THE" clarinet soundtrack that has permeated the cultural consciousness in the same way that "Take Five" (saxophone) has. The most famous (I could be sorely wrong) is either Benny Goodman's rendition of "Sing, Sing, Sing", or Artie Shaw's Clarinet Concerto, but these involve Big Band style instrumentation which hasn't been prominent for the last 80 years (for good reason: in this day and age co-ordinating 20-30 people's schedules is a real pain)
c) Clarinet snobbery. There is a far smaller pool of "classical" or "legit" pieces for the saxophone, especially at the orchestral level (the saxophone wasn't around when Mozart wrote K.622 or Weber his Concertino). Hence, for many saxophonists the only "advanced" genre they have the greatest access to is Jazz. For clarinetists, there is a far greater proportion of people who feel that an orchestral job is the ultimate end-goal, and jazz pieces merely a side show (personally when I told my teacher I wanted to learn jazz he laughed at me then sent me back to shedding Weber's Concertino)
d) Dearth of nice compositions for clarinet. This follows much the same as the "spiral of death" that afflicts alto clarinets (something much discussed, incidentally, in a thread on the Sax on the Web forums). Not many nice compositions = not many good jazz clarinet players = not many people to compose for = not many nice compositions.....
Finally, I'm sure that if you search hard enough there IS a nascent jazz scene for the clarinet around (Eddie Daniels being, I think, the most prominent amongst these people).
If you didn't want to read all that (I certainly wouldn't!):
There are jazz clarinetists around, but sadly the public thinks our instrument the Black Stick of Death, rather than the epitome of music coolness that is Paul Desmond.
Then again, I could be wrong.
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Author: ohsuzan
Date: 2012-06-22 03:10
I have thought for a long time that the clarinet was a victim of its own success.
I went to school in the 50s, when the people who taught me were folks who had grown up on Benny Goodman, Artie Shaw, Woody Herman, et al. In their experience, the clarinet was the coolest of jazz instruments.
But what happened was, they put legions of young band students on the clarinet, most of whom were, to be kind about it, wretchedly bad -- for lack of tutelage, lack of talent, and lack of exposure to good clarinet playing.
I was one of them, and not as bad as most. But my everlasting impression of the clarinet comes not from cool clarinetists from the past, nor the great clarinetists of the present, but from every one of those 15 or 20 kids that played clarinet in my school bands. And if one was bad, a whole section of this was absolute torture, as far as I was concerned.
I was embarrassed to be a clarinetist, to tell the truth. I didn't want anyone associating me with that sound. And I suspect I am not alone.
Susan
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Author: Wes
Date: 2012-06-22 05:13
The clarinet is a legitimate jazz instrument that is simply not as easy to improvise on to a set of changes than the saxophone because it overblows in 12ths, not octaves. It takes more time and more work to feel comfortable on the clarinet when playing to chord changes because the registers are different notes. Both instruments require high technical facility to improvise freely, but the clarinet being different notes in it's registers makes it more of a challenge.
However, the fingers move very easily on the clarinet.
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Author: Buster
Date: 2012-06-22 05:23
I don't wish to out-right discredit what has preceded my post, but there are wholly differing factors that need to be accepted if an "answer" is to be discerned. And the reader must determine what they themselves consider to be jazz.....
Some research into the roots of BeBop as a reactionary music to the "swing-era" (including clarinetists such as Goodman, Shaw and Herman) will be much more informative as to why the clarinet has all but disappeared from the world of jazz outside of small circles. Jazz clarinet did not slowly become "un-cool."
Also, some thought as to why "Dixie-Land" is now considered a racially insensitive term may enlighten.
On the whole, it is not a discussion that I am comfortable holding in a public setting.
-Jason
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Author: JonTheReeds
Date: 2012-06-22 08:24
The last iconic clarinet hit I can remember is Stranger on the Shore (early 60s!). The number of great sax solos (in the popular arena) I can easily bring to mind is huge: Baker Street, Careless Whisper etc...
I went to a few jazz jams recently and was told that although my playing was promising (read "pretty awful but at least it's not amplified") I was told that if I wanted to play jazz I had to get a tenor
If a producer wants to add a bit of class to a rock song they add sax (Rolling Stones, Pink Floyd, umpteen other bands) - is the Beatles really the last big group to use a clarinet?
What we need perhaps is for Bulgarian wedding music to be updated (like Bhangra has been) so mad clarinet lines are melded with dance beats
Sax players often play with an extreme tone using all sorts of sounds and effects. I play in a community band and the clarinets have to play with a pure tone. The trumpets, trombones and saxes honk away with all sorts of effects, bends and squeals, even the flutes have parts with flutter tonguing, but clarinets have to produce the classical, clear, even tone at all times
--------------------------------------
The older I get, the better I was
Post Edited (2012-06-22 10:13)
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Author: Paul Aviles
Date: 2012-06-22 09:02
"Back in the day" the problem was that you HAD to play clarinet to be cool. Artie Shaw made no bones about falling in love with everything about the sax, but he took up the clarinet to make money.
Funny how perceptions change.
What we really need is for the general public to lose its fascination with those whiny electric guitars first, then all bets are off.
...............Paul Aviles
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Author: Campana
Date: 2012-06-22 10:45
With an evolving media like jazz, perhaps it's not good enough to be a brilliant player. To stand out you have to be innovative, seen to be pushing the boundaries. It seems to me that the likes of Coltrane, Parker, Morgen, all saxophonists, did all the torch carrying for woodwind and the increase in popularity of the saxophone was the inevitable outcome.
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Author: ramsa
Date: 2012-06-22 12:53
If clarinet music was popular like guitar music is...
"vintage" clarinets would bring $200,000 at auction?
It's an aquired taste, I think.
This is a genuine signature.
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Author: Joe Bloke
Date: 2012-06-22 14:00
"Why?" Some good explanation above as to the why's. I'll add, the institutional thinking coming out of most college jazz programs, that seems to say: it's gotta be brass.
There are glimmers of hope emerging with some young jazz clarinetist:
First and foremost (in my opinion) is Anat Cohen. If you haven't heard her, check out her CD, "Clarinetwork Live At The Village Vanguard." She's a doubler but, she seems to have now found her voice on clarinet.
Janelle Reichman is another young player that doubles but, really cooks on clarinet. Her solo on "Close Enough For Love," with Johnny Mandel (himself) conducting, is a good introduction.
There are others but, unfortunately, you have to search.
Also, given the absolute saturation of sax players in jazz, I think we'll see more clarinetist in the future. Who knows, maybe even an oboist or two.
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Author: David Spiegelthal ★2017
Date: 2012-06-22 14:01
Try playing sax, it's more fun to play than clarinet, and is far better suited to jazz than clarinet. I'm not kidding, I play both.
You can't go home again, as Hemingway (I think) wrote.
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Author: MarlboroughMan
Date: 2012-06-22 14:55
You can drive yourself crazy asking why...the truth is complex, sometimes deeply nasty, always culturally disappointing, and a hard school in human nature. In the end, knowing why won't help you play "I cover the waterfront" any better than not knowing. My answer: let's bring it back by lending our own voice.
There are great players out there doing just that, including Dr. Michael White and Evan Christopher of New Orleans, the aforementioned Anat Cohen and many other.
Clarinet is every bit as great a jazz instrument as sax. Listen to Benny's trio recordings with Teddy Wilson, then listen to Lester Young with Teddy--I think Benny holds his own and much more. Then check out Artie Shaw's Last recordings and everything in between. Clarinet is an amazing jazz voice--deeply romantic and profound in ways that are unique.
I'm currently doing a run down of Ten Essential Jazz Clarinet recordings on my blog--check it out if you're interested. Maybe if enough of us lend our voices, something good will happen.
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: David Spiegelthal ★2017
Date: 2012-06-22 15:01
In most players' hands, jazz clarinet is shrieky and shrill despite what Eric says (rightly) about the really fine players. Unless you play clarinet at that high level, you are better off (from the perspective of the poor audience's ears) sticking to one of the saxophones. Just my opinion.
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Author: MarlboroughMan
Date: 2012-06-22 15:18
I get ya, Dave. your point is well taken. Jazz clarinet takes some real dedication, but also a specific talent for the sound concept. As you know, I also feel strongly that the type of instrument counts--that the demise of the jazz clarinet coincided with the demise of the large, straight bore.
I just bought a Selmer CT--amazing horn, and it'll probably become my main axe. Those horns are great...
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: Ed Palanker
Date: 2012-06-22 15:24
It's much easier to play loud and blast on a sax. When you play sax out of tune with a bad tone it doesn't seem to matter nearly as much as a clarinet. The sax became more popular in jazz, in my opionon, with rock and roll when it was used in what can be described as slurping and making ugly sounds that actually fit the style very well. I used to hate the old sax sounds in the early rock days, now when I hear it I love it because it fits so well. The clarinet is just not loud enough without a mic and is far to pretty a sound. On the other hand, there are some great clarinet players today, they play sax too but the ones I've heard really sound great on jazz clarinet. ESP
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Author: Joe Bloke
Date: 2012-06-22 15:33
Per Eric:
"Clarinet is an amazing jazz voice--deeply romantic and profound in ways that are unique."
Well said!
And, I'll add: a refreshing voice in a sax dominated genre.
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Author: brycon
Date: 2012-06-22 15:52
Eric wrote:
Quote:
Jazz clarinet takes some real dedication, but also a specific talent for the sound concept.
What is the sound concept for jazz clarinetists?
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Author: MarlboroughMan
Date: 2012-06-22 16:18
brycon--
I'll leave the categorizing to academics. Mine was a general statement in response to Dave's specific comment regarding shreiking.
But if you're really interested, check out Benny, Artie, Sidney, Johnny Dodds, Jimmy Noone, Edmond Hall, Faz, and anyone else you care to listen to. Then, as a drummer in NOLA once told me on a gig, "Play your thing, man!"
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: David Spiegelthal ★2017
Date: 2012-06-22 16:30
Or for a more modern player with a wonderful sound, listen to my 'main man', Buddy de Franco.
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Author: Bob Phillips
Date: 2012-06-22 16:33
When clarinet was king, its music was the popular music.
Today, there are few wind voices in pop music.
Voices sound like detached (in the outhouse?) folks straining at stool. Pitches ring off of vibrating strings, and many music shops don't even have any wind or bowed instruments in stock.
My local shop doesn't even carry sheet music. 2 acoustic/classic guitars out of a stock of 30. They do have a few saxophone reeds and expect to sell them as singles.
A further insight: the nearby (Spokane, WA) youth symphony orchestra director says that clarinetists are regarded as geeks --sorta the shadow cast on double reeders in the '50s. That may be cool, for the coming generation --fewer competitors for the rare clarinet chairs in chamber ensembles.
Bob Phillips
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Author: Joe Bloke
Date: 2012-06-22 16:38
brycon:
"What is the sound concept for jazz clarinetists?"
Try these living examples:
Anat Cohen - "Body And Soul"
Allan Vache & Antti Sarpila - "These Foolish Things"
Eddie Daniels - "My Foolish Heart"
Janelle Reichman - "Close Enough For Love"
(from the Johnny Mandel CD)
Ken Peplowski - "With Every Breath I Take"
Mort Weiss - (anything he plays)
Victor Goines - "Love Dance"
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Author: David Spiegelthal ★2017
Date: 2012-06-22 16:51
While we're off on a tangent, if you'd like to hear some excellent woodwind "doubles" in the jazz vein, check out Yuseef Lateef who has recorded on flute, oboe and bassoon as well as tenor sax. He's a fine player on all of those instruments.
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Author: brycon
Date: 2012-06-22 18:36
Quote:
"What is the sound concept for jazz clarinetists?"
Try these living examples:
Anat Cohen - "Body And Soul"
Allan Vache & Antti Sarpila - "These Foolish Things"
Eddie Daniels - "My Foolish Heart"
Janelle Reichman - "Close Enough For Love"
(from the Johnny Mandel CD)
Ken Peplowski - "With Every Breath I Take"
Mort Weiss - (anything he plays)
Victor Goines - "Love Dance"
How does a list of players answer my question?
I have listened to all of these people, transcribed a few of them, and even played tunes with one of them. All of these players, to my ears, have different tonal concepts. Is there something they all share in common that would lead one to use the characterization the jazz sound?
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Author: tictactux ★2017
Date: 2012-06-22 19:02
As long as we don't know, what "Jazz" really is, how do we know what its typical sound should be?
(Recently a friend taught me about various styles in rock music. Maybe I should have an open ear for Neolithic Jazz or Metal Bop or even Cryptophytal Folk. What do you think, are we over-categorizing things?)
--
Ben
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Author: sowilson
Date: 2012-06-22 19:40
Check out Eric Dolphy playing bass clarinet on A-Train with Mingus - way cool. Even my daughter (clarinet, bass clarinet, and taking up tenor sax) digs Eric - she describes it as old school My Chemical Romance
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Author: Joe Bloke
Date: 2012-06-22 19:47
@ brycon:
"How does a list of players answer my question?"
Well, if you've heard that list of players and still have the question, you might heed the words of, Louis Armstrong:
"Man, if you gotta ask, you'll never know."
He reportedly gave that response to the question: What is jazz?
It's a tough line but, the music's not for everyone.
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Author: brycon
Date: 2012-06-22 20:36
Quote:
Well, if you've heard that list of players and still have the question, you might heed the words of, Louis Armstrong:
"Man, if you gotta ask, you'll never know."
He reportedly gave that response to the question: What is jazz?
It's a tough line but, the music's not for everyone.
I play "the music" quite regularly and with some degree of proficiency. Moreover, most serious jazz musicians I know are able to articulate the concepts of the jazz idiom without the use of truisms and platitudes...
The reason I asked the question is because I was genuinely interested in what Eric had to say, seeing as how my answer would most likely have been quite different.
My answer would be that there is certainly no such thing as a singular jazz tonal concept. Furthermore, what people are talking about when they say "the jazz sound" is a combination of several things- articulation, stylistic nuance, rhythm, et cetera- so concerns over what instrument, mouthpiece, or reed to play when performing jazz are, for the most part, pointless.
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Author: Buster
Date: 2012-06-22 21:12
If you distill all these pointless arguments down, a simple conclusion can be found:
There is truly no "jazz", or "classical" sound.
Rather, all that we can say is that the tool that is the clarinet is used in differing ways for whatever style, or medium that is at hand.
Mozart calls for something different than Brahms, onto Stravinsky, than what is called for in Jelly Roll's music (he did invent "jass" right?) or what is needed in Glenn Miller on to Artie, Benny and Don Byron to Klezmer ad infinitum.
You immerse yourself into the style of music and go from there, "proper" tone concept be damned. (Or am I wrong using my ear's sound to re-create a style with my own voice?)
"Man, if you gotta ask, you'll never know."
That's a cop-out if I ever heard one. I'd only say that to some dilettante prodding me as to what compromises a style of music without the capacity to understand any sort of informative answer. Much as Pops did to whoever asked him....
I've had the fortune to play for/work with some jazz "heavies." More so on sax than clarinet to be honest, but that is merely an aside to the discussion.
Never once did the discussion of a blanket tone concept come to light... they could care less about that. (Is Dex more correct than Trane?)
It's a tough line but, the music's not for everyone.
More b.s.
No music is exclusionary by nature. Only people's opinions about any genre force an "outsider" to feel like an unwelcome guest.
-Jason
Post Edited (2012-06-22 23:47)
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Author: MarlboroughMan
Date: 2012-06-22 21:21
Joe Bloke,
It seems brycon was baiting me and you got caught in the middle.
brycon,
Next time just ask me what I mean if you want to know. No need to ask leading questions, feigning ignorance (or assuming ignorance on my part). You tend to write intelligently here on jazz and I agree, of course, with everything you just posted. I don't confuse my own preferences for large bore clarinets and dominantly pre-bop style (though that would be a gross oversimplification of my actual approach) with some sort of codified law, which is what I think you're implying.
This sort of baiting ends in sophistry or pedantic displays. Who needs more of that?
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: Joe Bloke
Date: 2012-06-22 22:40
@ Eric,
Glad your back. I was taking some heavy fire. Alas, now that the tears have dried, I'll stick to what I said and who I quoted.
Since my list was such a hit, I'd like to add another interesting (bass) clarinet player folks may not have heard of: Jason Stein.
Really nice CD out recently: "The Story This Time." Stein's making the bass clarinet his instrument of choice. A breath of fresh air, in my opinion! Not sure how (or if) he'd breakdown the "tonal concept" but, it works.
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Author: mihalis
Date: 2012-06-22 23:33
I agree with Buster.
To my opinion Jazz refers to an American style of improvization.
But look at all the Balkans, Klesmer, indian etc.
They all improvise in there own ways, and all have clarinet as their main
instrument.And in countries like Greece, Bulgaria, and others it is unthinkable
a folk band without clarinet.
Mike.
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Author: JHowell
Date: 2012-06-23 03:59
"If a producer wants to add a bit of class to a rock song they add sax (Rolling Stones, Pink Floyd, umpteen other bands) - is the Beatles really the last big group to use a clarinet?"
Jon, I think Supertramp would be the last. Not the Beatles, admittedly.
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Author: brycon
Date: 2012-06-23 21:39
Eric,
I assure you that I had no intention of baiting you. You had written that particular models of clarinet and their tonal characteristics had a very large impact on the jazz idiom- so much so that the clarinet's eventual fading from the consciousness of jazz players and listeners may be tied to instrument manufactures- and that clarinet players wishing to perform jazz must pay close attention to the sound concept. It appeared that you had some different viewpoints than my own and as you are one of the few posters I enjoy reading here, I was rather wanting you to clarify some of what you had written.
My sincerest apologies for presupposing your views and getting sidetracked by the nonsense.
Cheers!
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Author: MarlboroughMan
Date: 2012-06-23 22:01
No blood no foul, brycon, and no apologies needed.Thanks for your kind words: I enjoy reading your posts too. My opinions are a bit strong on large bore clarinets...I really wish Selmer and Leblanc would return to making them
I can see how you might think I was pushing for one sound concept, but boy that would be wrong on so many levels--and you've pointed out why quite nicely.
Keep swinging, and feel free to email me any time.
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: jmsa
Date: 2012-06-23 22:12
If you really want to hear a genius use the clarinet in a jazz venue to express himself in an original way check out Jimmy Guiffre.
jmsa
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Author: DavidBlumberg
Date: 2012-06-23 22:37
Buddy DeFranco to me is the best Jazz Clarinetist alive today, and a top 5 all time if not even 1, 2, or 3.
He won several years in a row the Playboy Jazz Award in the 60's - so Clarinet didn't go away yet back then at all.
http://www.SkypeClarinetLessons.com
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Author: georgec
Date: 2012-06-23 22:46
David Spiegelthal--
"You can't go home again." --- Tom Wolfe
(And you're absolutely correct about sax v. clarinet as a jazz instrument!)
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Author: SteveG_CT
Date: 2012-06-23 22:47
MarlboroughMan wrote:
> My opinions are a bit strong on large bore clarinets...I really wish Selmer
> and Leblanc would return to making them
I do too. I have a couple of Selmer CT, a K-series Selmer, and a Leblanc Dynamique and I love them all. I think a reasonable case could be made to petition Selmer to release a "Reference 54" clarinet considering that Selmer CT's still command pretty impressive prices on the used market and they are sought after by many people. If Selmer re-issued the CT at a similar price to the Recital I'd definitely buy one.
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Author: MarlboroughMan
Date: 2012-06-23 23:12
Good point about Buddy DeFranco in the 60's David--really good actually, because it points to a history that has been a bit overlooked.
When you check out the history objectively (and maybe with less emphasis on certain PBS documentaries, etc) the clarinet did well in the 1960s.
David mentioned Buddy, but Pete Fountain released somewhere around 20 albums in the 1960s alone, many of which were jazz classics and are sadly out of print--not even rereleased on CD. Pete was as big a star to the general public as any jazz musician in the '60s.
[ And I can't resist....he played a large bore Leblanc. Buddy DeFranco also endorsed Leblanc back then--does anyone know what model he used? If was a Dynamic H I'm going to gloat...just a warning.]
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
Post Edited (2012-06-24 04:00)
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Author: MarlboroughMan
Date: 2012-06-23 23:15
I'm gonna have to start collecting those models too, Steve. I just bought my first CT, and it is incredible--easily the best jazz horn for me. I just posted a review of it on my blog, and I hope somebody in Paris is thinking about a reference series for clarinet too.
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: SteveG_CT
Date: 2012-06-24 01:31
MarlboroughMan wrote:
> [ And I can't resist....he played a large bore Leblanc. Buddy
> DeFranco also played endoresed Leblanc back then--does anyone
> know what model he used? If was a Dynamic H I'm going to
> gloat...just a warning.]
>
I think he used a few different models over the course of his career. He is holding a Leblanc L7 on this album cover: http://www.honestredsrecords.com/LPs/LP07117.jpg
Post Edited (2012-06-24 01:31)
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Author: Jack Kissinger
Date: 2012-06-24 15:36
I don't know what he was actually playing back then but, in 1953, Buddy DeFranco was featured in an ad for the original Leblanc Symphonie Model. (The ad claimed that was the clarinet he played.) Both the Symphonie Model and the L7 are small bore instruments.
jnk
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Author: Merlin_Williams
Date: 2012-06-24 16:05
Buddy later moved to Yamaha clarinets starting with the YCL-61.
Jupiter Canada Artist/Clinician
Stratford Shakespeare Festival musician
Woodwind Doubling Channel Creator on YouTube https://www.youtube.com/c/WoodwindDoubling
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Author: jmsa
Date: 2012-06-24 16:41
Henry Questa was also a great player and he played a Selmer Series 9
jmsa
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Author: SteveG_CT
Date: 2012-06-24 17:02
Jack Kissinger wrote:
> I don't know what he was actually playing back then but, in
> 1953, Buddy DeFranco was featured in an ad for the original
> Leblanc Symphonie Model. (The ad claimed that was the clarinet
> he played.)
Over the years I think he was featured in an ad for nearly every model that Leblanc made. I've seen him in ads for the Symphonie, the model 476, the LL, and even the LL bass clarinet. Naturally all of them claimed that was the instrument he played.
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Author: jmsa
Date: 2012-06-24 17:43
My first clarinet teacher back in 1960 Ron Rubin also plays an excellent jazz clarinet.
jmsa
Post Edited (2012-06-24 18:01)
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Author: GBK
Date: 2012-06-24 20:16
jmsa wrote:
> Henry Questa was also a great player and he played a Selmer Series 9
Until he switched over to an R13.
...GBK
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Author: Mark Charette
Date: 2012-06-24 20:30
GBK wrote:
> jmsa wrote:
>
> > Henry Questa was also a great player and he played a Selmer
> Series 9
>
> Until he switched over to an R13.
And then he was a bad player???? ![[grin]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie5.gif)
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Author: tictactux ★2017
Date: 2012-06-24 20:43
He saved a pinky or two in this process.
Oh wait, that was the Yakuza's modus operandi...
--
Ben
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Author: Merlin_Williams
Date: 2012-06-25 12:27
Cuesta may have switched to an R13 at some point, but switched back again. When I worked with him, he was playing old Selmer K series instruments. That was a couple of years before he left us.
Jupiter Canada Artist/Clinician
Stratford Shakespeare Festival musician
Woodwind Doubling Channel Creator on YouTube https://www.youtube.com/c/WoodwindDoubling
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Author: jmsa
Date: 2012-06-25 12:50
We must not forget a current player who is also great. I am speaking of the one and only Mr. Paquito D 'Rivera .
jmsa
Post Edited (2012-06-25 12:51)
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Author: Jack Kissinger
Date: 2012-06-25 13:25
I'll rephrase. The 476 that DeFranco "endorsed" is a Symphonie Model. I have a picture of the ad. It refers to the clarinet using both designations. (Or do you have a copy of an ad with him endorsing a"476" 476?)
jnk
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Author: SteveG_CT
Date: 2012-06-25 14:05
Jack Kissinger wrote:
(Or do you have a copy of an ad with
> him endorsing a"476" 476?)
>
> jnk
I have seen an ad that says he plays the model 476 with no mention of the Symphonie designation. It may be the same thing as I have also seen an ad where the caption only reads "model 476" but the clarinet pictured is clearly an early Symphonie model.
Interestingly there is also a later ad that states that he plays both the Symphonie IV and the LL. I kind of wonder if this was just marketing speak or if he really did play both models at different venues.
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The Clarinet Pages
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