Author: tyleman
Date: 2020-07-17 17:52
I've just spent quite a bit of time reading the posts here and I would like to add a bit of information. I've been a traditional jazz player all my life, beginning with cornet/trumpet and drums, but I started playing clarinet while living in New Orleans (I was there from 1989-2002). I started on Boehm, switched to Albert, then back to Boehm because I was having pain in my right hand from the Albert "stretch," which is especially uncomfortable with the Selmer Improved Albert, less so when I was able to find a lovely Buffet Albert.
There's a lot of romance involved with the Albert clarinet and New Orleans, and it certainly makes sense, since most of the early jazz players there played that system (as seabreeze has pointed out). However, I believe, with the right setup on the Boehm system, the right instrument, and the right mental concept, one can get a sound similar to that of those New Orleans Albert players. It's what I'm currently working on after years of not playing clarinet.
Regarding instrument choice, I'm finding I get the sound I want from a seven ring Selmer Centered Tone from 1958. (I'd like to point out the great Chicago-based traditional jazz clarinetist Darnell Howard played one of these, and he certainly had that big New Orleans sound). But I've also got a vintage Martel Freres that sounds terrific, a Penzel-Mueller Artist, and I just bought a 1982 Noblet that impressed me a great deal.
As far as modern manufacture of an Albert, this has been done. I believe by Buffet who made one for Woody Allen (which he didn't care for). Personally I don't think there's a market for one, and there are most certainly Selmer Improved Albert clarinets around for those few musicians who might want one, and the intonation on one of those is certainly going to be excellent. Also, I should point out, those Alberts made by Penzel-Mueller.
Regarding double-lip and the New Orleans clarinets, I venture that almost all of them played double-lip, which leads me to believe it was that method taught by the Tio family. I've looked at a lot of vintage pictures of clarinetists and those where you can see their mouthpieces I don't see any teeth marks. (I play double-lip, btw.) I know for certain Sidney Bechet played double-lip, even though he wasn't really a Tio student he was friends with Lorenzo Tio, Jr. and they played together in New Orleans.
The Tio family were originally from Europe (Barcelona) but they lived in Mexico for a time and I suppose would be considered Creoles.
Speaking of Tio, since the track supposedly with him did NOT have him, give a listen to this. Also listen to the other tracks from the Piron CD this one is on, as they all have Tio. https://www.youtube.com/watch?v=T6ODDvLHkFk
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The Clarinet BBoard
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