Gear Review: 1927 New Wonder II Soprano Saxophone

 

1927 Conn New Wonder II Soprano Saxophone
Eric Seddon Collection

I've played Soprano Sax for over twenty years now, and most of that time my axe was a beautiful Yamaha Soprano YSS-675 with two necks -- one straight and one curved. I've used both of those necks  over the years, for different occasions. That horn has a beautiful, round, golden tone and plays very well in tune. Then, one day, my good friend, fellow reed man and jazz historian John Richmond told me he was selling one of his vintage sopranos. At the time I thought he was interested in selling his 1927 Buescher. I said I wasn't interested. I thought the Yamaha was giving me what I wanted, so why should I switch?

Well,  John wasn't to be discouraged by me waiving him off just once. He sat in with my band one night and brought the horn, encouraging me to play it on a tune. I'm certain it was the Buescher. I played it and really liked how much lighter it was in the hand than the Yamaha, which is a very heavy instrument comparatively. I had to wear a neck strap for the Yamaha, and even then, sometimes my right hand would be in pain if I played too long. The Buescher was much more comfortable, but I still wasn't looking to spend the money. 

After that, though, the experience started working on my mind. The months went by and I'd daydream about having a vintage horn like that Buescher, with a less mainstream sound, and some more depth and color. I just couldn't get the experience out of my head, so I called John one day about ten months later and asked if the Buescher was still for sale. 

He said that he'd decided to keep it, and instead wanted to move his 1927 Conn.  Initially I was a bit disappointed, but went over to his place and tried the Conn in his kitchen. I knew immediately it was the horn for me. I took it on trial, then bought if from him after playing it on a gig at BLU Jazz + in Akron.

I'll always be grateful to John for selling it to me, because this horn is the one I've always needed. It has so many layers of depth to the sound, so many potential timbres, and such overwhelming power when needed. Before this, in retrospect, I could never get the the variety of colors and expression on soprano sax that came easily on clarinet. Once this horn came into my life, though, that all changed. I was able to play with the nuance I was accustomed to -- mostly because of that sound world a 1927 Conn yields.

John Richmond's Buescher is a beautiful horn too, and I would have purchased it if it had been for sale that day. But I got lucky he wanted to keep that one. A Buescher is very powerful, and has a very good sound, but doesn't have that Conn beautifully full round tone. In other words, I find that I can get all sorts of styles out of the Conn -- brash, strong, and attacking, or round, warm, and floating. The Buescher didn't seem to have quite have the full range for me. 

Now some caveats, for those who might be interested:

The Conn New Wonder II is not a beginner's horn, and it's not an intermediate horn. You need some real skill to control and tame it. It's a wild ride compared to models being made today and took me several months of adjusting to it before I felt confident playing an entire gig with it. I had to adjust my air and embouchure to obtain the same level of intonation I'd had on the Yamaha. 

Early on I was told a vintage horn like this wouldn't play in tune if I didn't match it with a vintage mouthpiece. After a couple of attempts down that road, I slapped a brand new 2019 Selmer D on it and it played much better than the vintage pieces. So depending on the player, that idea that you have to have a vintage piece is pretty much a myth. I doubt I'll bother with any other mouthpiece than the Selmer D I've got on it now. 

The ergonomics of this horn are, likewise, much different than modern horns. First and foremost, the most noticeable difference: these horns have thumb rings instead of the more conventional thumb rest.     

Thumb Ring of a 1927 Conn Soprano Sax
Eric Seddon Collection

This was, for me, the biggest hurdle to even wanting to buy the horn. If the sound hadn't been so drop dead beautiful, I'd have let it go over this. At first, I thought of altering the horn and installing a modern thumb rest, but that seemed like desecration. Then I considered inserting some materials to cushion the ring. The first week I played the horn it was uncomfortable and I was really very serious about finding a solution, when suddenly it felt great. I'd adjusted somehow, and now for me it's preferable to have the ring rather than a modern thumb rest. My advice to any player switching over to a New Wonder II is to simply give it some time before deciding to do anything. It is a very lightweight horn comparatively speaking, and your hand might get used to it quickly, as mine did. 

The palm keys were another hurdle. Conn seemed to think that because it was a smaller horn, everything ought to be smaller, including the palm keys. I'm sure some players have rigged up extenders on their NWIIs, but I've opted to retrain myself on the horn and just deal with the smaller, closer, palm keys. I don't intend to play anything other soprano from here on out, so a shift to a different size is manageable. But that particular ergonomic difficulty is real. If I had bigger hands, it would be even more of a problem. 

1927 Conn New Wonder II detail: Palm Keys
Eric Seddon Collection

 If the palm keys seemed a curse, the spatula keys were a blessing for me. Like the palm keys, they were smaller, and with my background in clarinet giving me highly developed pinky coordination, it made them much easier to play. This won't be the case for every player, of course, but for me it was great. 

1927 Conn New Wonder II detail: Spatula Keys
Eric Seddon Collection

Vintage instruments aren't for everyone. If you're looking to blend with a modern section, or want something sleek and contemporary that plays in tune easily, this might not be your horn. But if you're a soloist who plays  mostly New Orleans style or small combo straight ahead jazz, and you're looking for a horn that give you all kinds of tonal options, layers, depth, and personality, and if you are lucky enough to be able to get your hands on one of these, you might have just found your Stradivarius. They simply don't make them like this anymore and when you hold one, you have in your hands a horn that Sidney Bechet also played, and that harkens back to an era when jazz reigned supreme, and the American instrument making business was second to none when it came to saxophones. To hold it is hold history, and you can feel it when you play one. 

My horn was the frosted silver model, with gold wash bell. It's got a nice patina to it now, and I don't dare polish it at this point--don't want to mess with the sound at all. But if you look, you can still see the last of that rose color in the bell.   

photo credit: Elisa Seddon

For me, this horn has opened up new vistas of expression. I recommend any serious player, if they can, try one. There aren't many left, so get these beauties while you still can. 

 

  

  

Jazz Clarinet Gear Review: 'Golden Era' 1966 Buffet R13 (possibly owned by Bud Shank)

It's not often that a newly refurbished, high quality mid century instrument falls into your lap for a test-drive, but that's precisely what happened to me this week. Local Clevelander Patrick Price, who purchased this vintage 1966 Buffet R13 for his daughter, wanted to know what he had, and what I felt of it's value as clarinet. After talking with Patrick for just a few minutes, it was clear that he had done his research and knew the market value of the horn -- what he wanted to know was more of how good an instrument it was, and what this clarinet could accomplish in terms of expressive range. 

Anyone who knows me as a clarinetist knows that I'm a bit of a partisan -- I am devoted to the old Selmer large bore sound and concept, and lament this era of clarinet manufacturing, considering it a kind of Babylonian captivity for those of us who resist the polycylindrical bores that took over the Parisian scene in the 1950s and '60s. If you know me a little better than that, you also know I played R13s for about a decade, and was frustrated by them. 

With all of that squarely in mind, I can tell you unreservedly that this instrument is an absolute gem. It has everything you'd want from the Buffet concept: a big, rich tone from the chalumeau and clarion. The altissimo isn't as strong as you'll get on a Selmer or Boosey & Hawkes, but the Buffet concept is different: it tends to become finer and less broad as it reaches the pinnacle of the natural range. This one's sound had a fairly perfect, Buffet-style taper as it got to double C. Most importantly, the timbre didn't drastically change between registers - it held very nicely. 

I've often been critical of polycylindrical bores for clumsiness over the "break" of the clarinet -- pointing out that often the player's voicing has to change to maintain pitch and timbre, making technical passages more difficult to phrase musically. This clarinet presented no such problem. 

   

1966 Buffet R13 

I played quite a bit of jazz on this instrument today, and then some orchestral excerpts. It can certainly be used as a jazz horn, if that's what the player wants. It has good volume, power, and flexibility. It's growling potential isn't as pronounced as one can get on a Selmer, and it doesn't have as wide a timbral range as my 1955 Selmer Centered Tone, but then again, not much does. I can imagine a player being very successful using it for modern jazz, which tends to have a more classical approach and more restrained sound palette.   

1966 Buffet R13

Where this horn excelled, though, was in the orchestral repertoire. The Buffet R13 was, after all, the instrument of choice for classical masters such as Franklin Cohen, Robert Marcellus, Harold Wright, Stanley Drucker, and so many others. I couldn't help playing some Brahms and Beethoven on it, and when I did this horn really showed it's strengths. The sound had a halo of warmth; a buoyancy and hovering ability that (much as I love them) my Selmers just don't have.  

This clarinet was newly refurbished and therefore needs to be played for a few weeks before the sound will truly blossom--the pads need to set properly and wear in a bit. When it does, it will be even more gorgeous than it is now.  

What are we to make of the story that Bud Shank owned this at one time? From what Patrick Price told me about it, I believe it was. It's impossible to prove without actual papers, etc., to that effect, but the story seems credible to me. Regardless, his daughter has at her disposal a mid-century beauty, the likes of which they just don't make anymore, in my opinion. May it take her to the heights of musical expression. 

1966 Buffet R13

  

My Interview for The Clarinet

I'm honored to have been interviewed by Eva Wasserman-Margolis for The Clarinet (the journal of the International Clarinet Association). 

In the interview, Eva and I discuss jazz, faith, and family. Enjoy!

Vintage Y2K Don Byron Interview

 For some reason, I've just finally stumbled across a short but fascinating interview with Don Byron dating January 1, 2000: the very day we were all sitting around wondering if all the computers in the world were going to fritz out. 

In it he speaks of the importance of Benny Goodman, but then reflects upon the influence (on him personally) of Tony Scott, Jimmy Hamilton, and Buster Bailey. This interview gives a better musical context to Byron's thoughts than I've run across before--I think it helps explain Byron's musical perspective very well. The last paragraph is brilliant. 

Ken Peplowski on Benny Goodman (for the LAST TIME!)

In the wake of the ICCC Jazz Competition, I've made it my business to pay more attention to my fellow judges' websites--to check out what they're up to, the projects they've been involved with, and dig into their thoughts. 

Ken Peplowski's website is a treasure trove of interesting content--well worth investigating. For the historically minded there is a very insightful interview on Ken's blog, conducted by Jesse Cloninger, entitled "My ABSOLUTELY Last Words on Benny Goodman!" 

I clicked on it, expecting to find a short statement or two about how annoying it is to always have to answer questions or be compared to Goodman as a jazz clarinetist. Instead I found one of the most cogent appreciations and summaries of Goodman's actual importance to the world of band leading, arranging, style, and culture. 

As one who has played in many symphony orchestras, I've always felt there was a double standard regarding Benny Goodman and music historians. Dictatorial conductors such a George Szell (horror stories of whom still abound in Cleveland) are venerated; their means of attaining their artistic ends generally considered justified by the results. They are praised for their unyielding commitment to their artistic goals and vision. But no such recognition is accorded Goodman by most historical accounts. Yet the recordings speak for themselves: his band swung like no other; they were tighter and the clarity of musical thought largely unmatched in any era. Isn't that worthy of note? And if the "Goodman Ray" played a part in attaining those ends, is that a reason to condemn Benny or praise him? 

These thoughts have rattled around my mind for decades. Ken Peplowski tackles these issues and more in this brief interview. As a player who worked with Goodman, he is able to remark upon Benny's unique abilities as a leader like no other. 

I encourage readers to check out the interview (linked above). Not only does it frame Goodman in a more reasonable and appropriate light, it gives insight into the priorities of a master musician--even suggesting ways we might maintain this art of jazz.  

ICCC Jazz Division Winners

This past Fall, in the devastating wake of the pandemic that has wiped away gigs of musicians around the globe, I was asked to be a judge for the jazz division of the International Clarinet Corona Competition. This grass roots effort to help younger professionals gain some exposure was spearheaded by Artistic Directors Eva Wasserman-Margolis, Elizabeth Crawford, and Diana Haskell and coordinated by Dylan James. 

In was honored with the request to serve on a panel comprised of the leading jazz clarinetists of our time:

Jazz Judges
Victor Goines, Facilitator
Stéphane Chausse
Anat Cohen
Andy Firth
Doreen Ketchens
Andy Miles
Gabriele Mirabassi
Felix Peikli
Ken Peplowski
Soheil Peyghambari
Nailor Proveta
Eric Seddon

  

Learning of the diverse musical backgrounds present on the judges' panel, I was more than intrigued. Not only would this be an opportunity for young professionals vying for prizes; it would be a rare snapshot of the state of jazz clarinet in our time: a discovery of the priorities all of these top players by virtue of our decisions. This is unlikely to happen again any time in the foreseeable future. God willing, the pandemic will be over soon--and then what is the likelihood all of these busy professionals would be able to take part in such a panel? So this was something I couldn't pass up: a unique opportunity to be a part of jazz clarinet history. 

There were many challenges for the directors of this competition, yet every challenge seems to have been greeted not as a barrier but as an opportunity. Such was the case when determining repertoire: international copyright laws became an immediate hurdle. A suggestion from Anat Cohen solved the problem: the judges (many of whom are noted jazz composers) submitted original tunes for the competitors. The facilitator for the jazz division, the prolific Victor Goines, provided three tunes which turned out to be very popular choices among the contestants, and are likely to be considered jazz clarinet standards from henceforth; the great Brazilian clarinetist and saxophonist Nailor Proveta provided a beautiful choro so evocative of his native land and tradition; and yours truly even had an Ab jump blues about rush hour traffic in Cleveland chosen.

The ICCC has also featured Klezmer and Classical divisions (as of this writing, the Klezmer winners have been announced and the Classical Division is still ongoing). This was another reason to take part in the competition: I wanted to be a part of something that recognized jazz and klezmer as being of the same importance and artistry as the great classical music of the ages. It's not an exaggeration to say that with this competition, the clarinet in world music has entered a new era. 

The directors, our coordinator, all of the judges, and the sponsors donated everything: their time, effort, compositions, products. The ICCC sponsors, like the judges, represent the finest clarinet and most recognizable products in the world: Buffet, Vandoren, Rovner, Lomax, BG, Reed Geek, Lisa's Clarinet Shop, Schwenk & Seggelke, and Clarinetquest. (See below for their logos).  

As an overview, I'd like to preface this presentation of our winners by saying there were so many fine performances, and the future is bright for many who didn't not claim a prize. Everyone who participated should know their performances were valued and worthy. Our prizewinners, however, demonstrated an artistry and mastery that made them undeniable at this point in time.        

 So without further ado, the THIRD PRIZE of the ICCC Jazz Division went to  JOAQUIN SOSA: 

 

From Andy Firth:

Joaquin displayed a sweet, well controlled tone and soulful playing with a good sense of interpretation of each piece. His creative ideas when improvising were sound and coherent with a well honed technique evident throughout each performance. I was impressed with the harmonic knowledge so reminisce of Eddie Daniel’s playing. 

From Doreen Ketchens:

Joaquin - Beautiful tone, technique and a balance of melody and solo that kept my attention. Joaquin's personality,  shines throughout his performance.

From Nailor Proveta:

I can say that [Joaquin] expressed with genuine brushstrokes of his origin, both in the Ballad and in groove, and in the "Swing" he really freed himself, no doubt,.....It was very clear this strong feeling  of JAZZ... Showing freedom to all musicians!

From Eric Seddon:

Joaquin's control of the clarinet in all ranges is exceptional, as is his mastery of harmony. His tone is exceptionally beautiful; his technique virtuosic. I have no doubt we shall be hearing from this young Cuban clarinet phenom for years to come.   

SECOND PRIZE of the ICCC Jazz Division went to EWAN BLEACH:

From Andy Firth:

Re: Ewan Bleach

A very soulful and expression performance with evidence of wide and varied listening to lots of traditionally styled clarinetists. A well formed and solid technique with evidence of knowledge of the harmonic underpinnings of the pieces. Wonderful to see the live jazz band accompaniment, a further testament to Ewan’s dedication to his craft. 

From Doreen Ketchens:

Ewan took control of the music as well as his ensemble, from the very first note. He impressed me from beginning to end. He exuded confidence and backed it up, with style, technique and pizzazz.  Fine playing.

From Nailor Proveta:

Talking about the clarinetist Ewan, it is very challenging... I felt great joy listening to his rhythmic freedom, looking at a distant place that defined what we still seek today.  Ewan, without a doubt, is a great musician of great talent, a lot of heart!

From Eric Seddon:

Ewan Bleach is an artist I've been hoping to hear for a very long time: a clarinetist with the lyrical soulfulness of early jazz combined with an ear for modern harmonies. His rugged, personal sound is firmly in the jazz clarinet tradition stretching back to New Orleans, but also cultivated by trad greats on his native soil. Ewan is the natural successor to the remarkable British jazz clarinet tradition of the '50s and '60s, in the lineage of Acker Bilk, Monty Sunshine, Terry Lightfoot, and so many others. I was grateful he chose my tune 'Euclid Ave Jump' for the competition. He tore into it with vintage flavor and great ideas; I daresay he'd be able to navigate the downtown traffic of Cleveland the tune was meant to suggest!   

FIRST PRIZE in the ICCC Jazz Division went to VIRGINIA MACDONALD:

From Andy Firth:

Re: Virginia Macdonald:

Virginia’s harmonic knowledge is obviously comprehensive and well studied and this is perhaps the most vital component of any jazz clarinetists adventures into the realm of jazz improvisatory performance. The sound was individual, soulful and well controlled at all times. I could hear influences from Jimmy Guiffre, Buddy DeFranco, Tony Scott, Eddie Daniels and a plethora of other jazz clarinet greats and this impressed me greatly. Listening to other players and developing the ability to harness and absorb the tonal and technical essence of their performances is so important and Virginia displayed this ability throughout her performances. 

From Doreen Ketchens:

I liked that Virginia went the extra mile and added a few extras, but that wasn't what captured my attention. Her tone was beautiful and her Improv was calculated to hit the proper points at the right time. She also captured the style of the pieces while still maintained a steady groove. She played like a scholar, very refined, with plenty of soul. 

From Nailor Proveta:

Virginia...thrilled me a lot with the amazing technique of the clarinet...very confident, mixed with a traditional language and looking at modernity, in the three genres with great freedom!

It was very  exciting to hear she playing a composition of mine: choro Pro Paulinho (Brazilian genre), sensational... Loved! Congratulations to this incredible clarinetist of great sensitivity.

[ Note: I have not been able to locate Virginia's performance of Nailor's choro on YouTube--I will update when this can be found - E.S. ]

From Eric Seddon:

Virginia MacDonald is a young artist with a mature, balanced style. Her technique is dazzling but always serves her expression,  which is ultimately lyrical, always taking the listener on a journey. She is possessing of a unique, personal sound very much grounded in the modern masters of jazz clarinet. Most importantly, in a world increasingly impressed by technique for techniques' sake, Virginia has managed to master the instrument, without being mastered by it. Her expressive goals are clearly paramount, and she uses her hard earned skill to share something very personal and important with her listeners. With an approach like this, her music will always be relevant, and I look forward to many years ahead for this young star.

From Felix Peikli [ regarding all three prize winners ]

My sincere congratulations goes out to Virginia, Ewan and Joaquin for their contribution to the competition. Three completely different players, personalities, and styles, from all corners of the world. Representing not only their dedication to the jazz clarinet, keeping our legacy and discipline alive and well, but also the global diversity and the common values that unites us as people. 

***

For a parting thought, I'd like to summarize my feelings expressed in the zoom meeting that revealed the prize winners: this competition has demonstrated the strength and depth of jazz clarinet globally. One of my fears twenty years ago was that all jazz clarinetists were beginning to sound too much alike. Our prizewinners and other contestants have proven that is no longer a problem. The top three featured such diversity of sound, style, and nationality, that we can confidently say jazz clarinet is global, and the future (and present) of jazz clarinet is bright!  

[ This article should be seen as a work in progress, as other judges have said they will be contributing comments--I'll update as they come in. E.S. 1/4/2021 ]