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Author: MarlboroughMan
Date: 2010-07-21 19:20
Bad terminology on my part, David...
I really meant brands--as you probably know (or vividly remember), there was a time when there wasn't much flexibility on the American Orchestral scene regarding what brand horn you were 'supposed' to play. But the Chicago section really broke that mold in many ways, with different guys playing LeBlancs, Yamahas, Buffets and even Wurlitzers (German system) at times.
I don't mean to suggest that other sections didn't do this as well (the Indianapolis section was mixed as too--and yet blended brilliantly), and of course Gigliotti in Philly played a Selmer 10G (though it was based off of his Moennig altered R-13).
But for guys like me, who were in college in the early '90s, it was the high profile Chicago clarinet section that seemed to be shaking things up--and that shake-up has been better, I think, for all of us. As a player who was frustrated with the "one horn fits all" mentality that was dominant when I was coming up, I can say that I'm really grateful there was a section out there comprised of players like Larry Combs, Gregory Smith, John Bruce Yeh, and Laurie Bloom--their openness made a difference in the attitude of many of us out there, and inspired us to look into the best options for ourselves, rather than just following the crowd--or trying to cram our concept into a horn that wouldn't yield it (for us).
Thanks for the question....it gave me a chance to think it through and clarify.
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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2010-07-19 11:56 |
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srattle |
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Re: Berlin Phil/Buffet Tosca... |
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The Clarinet BBoard
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