tag:blogger.com,1999:blog-12503864704988418572024-03-27T19:52:43.733-04:00The Jazz ClarinetThe Blog of Eric Seddon. Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comBlogger341125tag:blogger.com,1999:blog-1250386470498841857.post-23781696868514530642023-09-15T11:17:00.003-04:002023-09-15T11:29:55.483-04:00Gear Session: My "New" Ligature <p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwL3y2OgeugC4OO_PHJcQTQVdKsszLHJkBDDWulFgWW10XUZ_gfIdSEwMxE1Jqfg0ctqyKMqADIiJaEQjr7-XY_NCs0p8CGorxVFtVxKPB-0TNFrGe7-bHyhBiQDhyAJk4VKSoeuT5e6xJFbBRW4cUVxm110dmTJZznDGmLZKO9p4jGdQwZg4p1nczHOw/s4000/Eddie%20Daniels%20Ligatures.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4000" data-original-width="3000" height="519" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwL3y2OgeugC4OO_PHJcQTQVdKsszLHJkBDDWulFgWW10XUZ_gfIdSEwMxE1Jqfg0ctqyKMqADIiJaEQjr7-XY_NCs0p8CGorxVFtVxKPB-0TNFrGe7-bHyhBiQDhyAJk4VKSoeuT5e6xJFbBRW4cUVxm110dmTJZznDGmLZKO9p4jGdQwZg4p1nczHOw/w389-h519/Eddie%20Daniels%20Ligatures.jpg" width="389" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Rovner Eddie Daniels Model Ligatures </td></tr></tbody></table><br /><p></p><p><span style="font-family: verdana;">After nearly a decade playing every gig and practice session on my second vintage Rovner Eddie Daniels model ligature, I've decided it's time to change equipment: to my <b><i>third</i></b> vintage Rovner Eddie Daniels model ligature. As you can see, I don't change ligatures that often. In fact, with the exception of one gig in 2015, and some practice sessions using German mouthpieces and string, I think I've played only two of these Rovners for the last 22 years. Making this decision today was simply a matter of wear and tear - the old lig was starting to lack the depth of sound it once yielded, so it was time to switch it out for a "new/old stock" I've kept as a backup. But doing so made me reflect on my approach towards gear. It might be a little different, and I thought it might help others to have access to my perspective. </span></p><p><span style="font-family: verdana;">New gear can be exciting and fun. Trying a different clarinet, mouthpiece, ligature, reeds - at the highest level of equipment, they each offer a different set of possibilities. But there can be a dark side to this for the player too - each change can make you more obsessively self critical, more self conscious, more focused on response time, comparative intonation, or just physically adjusting to something new rather than focusing on the music. At the very least, it's a distraction from expression. At worst, the player can start to obsess over matters that actually impede the making of music. </span></p><p><span style="font-family: verdana;">When I was a young symphony player, fresh out of grad school, I tried whatever gear I could get my hands on. Dissatisfied with my own playing, I searched for the solution with each new piece of equipment. Reeds, mouthpieces, instruments - I would spend maddening hours switching back and forth, recording myself - trying to find what I was after. All of this was an important stage of my development as a musician, but it wasn't enjoyable. My goal became to find something that satisfied my desire and musical needs, then <b><i>stop trying equipment altogether</i></b> - I needed to get off the equipment carousel and focus on artistry - on the actual making of music. </span></p><p><span style="font-family: verdana;">My era of experimentation was basically relegated to about five intense years. By the end of that span, I had decided upon the <a href="https://thejazzclarinet.blogspot.com/2012/06/jazz-clarinet-gear-review-1955-selmer.html" target="_blank">Selmer Centered Tone</a> for my clarinet. I bought three of them (<a href="https://thejazzclarinet.blogspot.com/2012/06/jazz-clarinet-gear-review-1955-selmer.html" target="_blank">two</a> <a href="https://thejazzclarinet.blogspot.com/2013/09/jazz-clarinet-gear-review-1952-p-series.html" target="_blank">Bb</a> models and <a href="https://thejazzclarinet.blogspot.com/2017/02/jazz-clarinet-gear-review-1958-selmer.html" target="_blank">an A</a>) to ensure I'd always have one. My mouthpiece of choice became a vintage Brilhart Ebolin from circa 1938. I bought mine at a time when most clarinetists didn't value them - they were easy to pick up on eBay for $10-$20 apiece. I probably own about twenty or thirty of them, but have played only two over the past decade. And, as mentioned above, my <a href="https://thejazzclarinet.blogspot.com/search?q=eddie+daniels+ligature" target="_blank">ligature of choice</a> is the Rovner Eddie Daniels model, which hasn't been produced for over a decade (they replaced it with the Versa, which is not exactly the same, and doesn't work as well for me, so, like the vintage Brillys, I've collected those too). </span></p><p><span style="font-family: verdana;">Now I don't consider these to be objectively the best clarinet equipment of all time for everyone - there is no such thing. But they are the best for me - yielding the sound I always wanted when I was growing up, and striving as a young professional to attain. Beyond those concerns, I've always felt the most important things for any musician to possess are consistency as a player and the ability attend solely to the music. My philosophy, and practice, has always been to get so comfortable with my setup that the instrument itself seems to disappear when i'm playing, becoming an extension of my musical thought. That can't happen if I'm always focused on my equipment. </span></p><p><span style="font-family: verdana;">I'm not sure many younger musicians are taught to find the right gear and then stop fussing with it. And I think it can drive players crazy to be focused on their horn rather than the music. I searched for decades before I stumbled upon the Selmer Centered Tone as my ideal clarinet, so I can understand the frustration and drive to try new things. But if you're like me, and it drove you nuts to be focused on your gear rather than the music, take my advice: find something that works, and don't bother with it again. Stockpile the gear you need, and get on with the business of singing through your horn. </span></p><p><span style="font-family: verdana;">And as for my "new" ligature, let's just say for tonight's gig I'm bringing along the old one as backup...just in case. </span></p><p><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq6Pm9TNa7fpfVclDbp6FJy6pH_-9I47mpCPwBhhIRBSH2CQWRfNLenMoVKRnU4-OgmPIPh5byamn1PaTcGAzlZtPzho8_gLKrFq81k8lgqaumIiXxh6uN31xmOv4XcaSscvQhzIIdTdH-OrJJd4YY_hc0BbzPeEa-YQJtd6GNXaaBE8aD0XtFWUD81As/s979/Arrow%20Sign%20(2).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="747" height="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq6Pm9TNa7fpfVclDbp6FJy6pH_-9I47mpCPwBhhIRBSH2CQWRfNLenMoVKRnU4-OgmPIPh5byamn1PaTcGAzlZtPzho8_gLKrFq81k8lgqaumIiXxh6uN31xmOv4XcaSscvQhzIIdTdH-OrJJd4YY_hc0BbzPeEa-YQJtd6GNXaaBE8aD0XtFWUD81As/w397-h520/Arrow%20Sign%20(2).jpg" width="397" /></a></div><br /><span style="font-family: verdana;"><br /></span><p></p>Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-26473440846100446952023-09-13T20:52:00.003-04:002023-09-13T20:53:27.385-04:00Eric Seddon * Solo Clarinet * Were You There When They Crucified My Lord? [ trad. ] <div><span style="font-family: verdana;"><br /></span></div><span style="font-family: verdana;"><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;"><br /></span></div>Stumbled across <a href="https://soundcloud.com/eric_seddon/were-you-there-when-they-crucified-my-lord" target="_blank">this recording of me</a> in my studio about eight years ago playing <a href="https://soundcloud.com/eric_seddon/were-you-there-when-they-crucified-my-lord" target="_blank">"Were You There When They Crucified My Lord?"</a> I'd forgotten all about it until this evening. Figured I'd post it here for folks to hear. Blessings on you all. </span><div><span style="font-family: verdana;"><br /></span></div><div><br /></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;"><br /></span><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw4yaNPWVA0ayT288HdxYvX8fCMIrnTmo78A67UtyOFB7KiWm6pFSzrbECWmyHK1lcrLmOgvGlOtnj8H-G5P1YQvcaQPaLBETVNdqjNkMnWJ1UAKB1leDa_nPtZHsRG8It4Vi5_e0_RAhmPIn7VJCp2mX5XRNuzZUV9RjPUlatTV2wQV3jv7UNk0Zo4xQ/s2670/Shekomeko%20Playing%20(4).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="689" data-original-width="2670" height="116" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw4yaNPWVA0ayT288HdxYvX8fCMIrnTmo78A67UtyOFB7KiWm6pFSzrbECWmyHK1lcrLmOgvGlOtnj8H-G5P1YQvcaQPaLBETVNdqjNkMnWJ1UAKB1leDa_nPtZHsRG8It4Vi5_e0_RAhmPIn7VJCp2mX5XRNuzZUV9RjPUlatTV2wQV3jv7UNk0Zo4xQ/w447-h116/Shekomeko%20Playing%20(4).jpg" width="447" /></a></div><span style="font-family: verdana;"><br /></span><div><span style="font-family: verdana;"><br /></span></div><div><br /></div><div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><span style="font-family: verdana;"><br /></span></div></div></div>Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-32409414713859475302023-08-16T12:17:00.005-04:002023-08-16T13:00:27.665-04:00CD Box Review: Artie Shaw and His Orchestra * King of the Clarinet * Live 1938-39 * Hindsight Records (HBCD-502) 1993<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPdhWIWHXLWPPw7zfdIYIZWxiVTFtLqd7cKeG5DsjJZVkFDVAdYgN6iNISzRJ6EksMibefJRG-YqmzW9XVE7zZKl8hA0INLtqPrUhPJsUA8NLZdE_PNqllo4pejjkg2exTQMPwvWse86PdrydPUS6AQK0-fRUf9OAm9ReFk40GS2qoyEUk8MNo9cpj0RM/s4000/Artie%20Case.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4000" data-original-width="3000" height="514" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPdhWIWHXLWPPw7zfdIYIZWxiVTFtLqd7cKeG5DsjJZVkFDVAdYgN6iNISzRJ6EksMibefJRG-YqmzW9XVE7zZKl8hA0INLtqPrUhPJsUA8NLZdE_PNqllo4pejjkg2exTQMPwvWse86PdrydPUS6AQK0-fRUf9OAm9ReFk40GS2qoyEUk8MNo9cpj0RM/w385-h514/Artie%20Case.jpg" width="385" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p></blockquote><p><span style="color: #0b5394; font-family: verdana;"><b><i>Artie Shaw - clarinet</i></b></span></p><p><span style="color: #0b5394; font-family: verdana;"><b><i>Les Robinson, Hank Freeman - alto sax</i></b></span></p><p><span style="color: #0b5394; font-family: verdana;"><b><i>Tony Pastor, Ronnie Perry, Georgie Auld - tenor sax</i></b></span></p><p><span style="color: #0b5394; font-family: verdana;"><b><i>Johnny Best, Bernie Previn, Chuck Peterson, Harry Geller - trumpets</i></b></span></p><p><span style="color: #0b5394; font-family: verdana;"><b><i>George Arus, Russell Brown, Harry Rodgers, Les Jenkins - trombones</i></b></span></p><p><span style="color: #0b5394; font-family: verdana;"><b><i>Les Burness, Bob Kitsis - piano</i></b></span></p><p><span style="color: #0b5394; font-family: verdana;"><b><i>Al Avola, Dave Barbour - guitar</i></b></span></p><p><span style="color: #0b5394; font-family: verdana;"><b><i>Sid Weiss - bass</i></b></span></p><p><span style="color: #0b5394; font-family: verdana;"><b><i>Cliff Leeman, George Wettling, Buddy Rich - drums</i></b></span></p><p><span style="color: #0b5394; font-family: verdana;"><b><i>Helen Forrest, Tony Pastor - vocals</i></b></span></p><p><span style="color: #0b5394; font-family: verdana;"><b><i><br /></i></b></span></p><p><span style="font-family: verdana;">After more than a decade of writing this blog, I'm shocked to find I haven't reviewed this CD box. Maybe I took for granted that it was inevitable, or thought it would be too difficult to find enough superlatives, or maybe I thought I'd already done it. However I've managed to maintain this level of neglect, it's mind boggling. </span></p><p><span style="font-family: verdana;">Of all the great jazz clarinetists, Artie Shaw resonates more personally with me than any other. We share a geographical connection with roots in New York, Connecticut, and Cleveland; an intellectual similarity that makes the world of literature and writing as enticing as music; a fundamental need to wrestle with the meaning of existence; and a musical preference, above all, for what might be termed lyric melody of meaning. That this box might contain what I consider his most important and beautiful recordings may have been why I've neglected to review it. The fact is, despite what one might think, I've tried to stay away from drawing too much attention to his music - not out of some Bloomian "Anxiety of Influence", but simply because I'm never sure I can do it justice. </span></p><p><span style="font-family: verdana;">You see, I've given historical "lecture concerts" in nightclubs and libraries highlighting the accomplishments of many of the great clarinetists of jazz history. Sidney Bechet, Jimmie Noone, Benny Goodman, Pete Fountain, Hubert Rostaing, George Lewis, and Acker Bilk all come to mind - I've prepared lectures on their life's work and performed tunes in context for them. But never for Artie. It's probably because he's just too close to me - I almost don't know where to start. It's too personal. I can honestly say I've been influenced by just about everyone I've listened to by this point, but Artie is really the bedrock of my style. Here are a couple of quick stories demonstrating how this influence reveals itself: </span></p><p><span style="font-family: verdana;">Once, while playing at a jam session at a local tavern, I remember an older gentlemen coming up to me between sets, with a puzzled look on his face. </span></p><p><span style="font-family: verdana;">"It's been bothering me all evening...who you remind me of..." he said, with that odd familiarity with which perfect strangers approach jazz musicians after a set. "Then it came to me! Your playing reminds me of Gustav Mahler!" And he pointed at me knowingly, shaking his finger with a sly smile, as though he'd caught me throwing Mahler excerpts into my solos. </span></p><p><span style="font-family: verdana;">Another time, while recording my live album at the Bop Stop in Cleveland, also between sets, a very astute trumpet player in the audience commented that he felt my performance of <a href="https://www.youtube.com/watch?v=esr-oXzJo1k" target="_blank">"Go Down, Moses"</a> was a seamless fusion of klezmer and blues. The truth is that neither the similarity to Mahler, nor the fusion was conscious - but the both spoke of the foundational influence of Artie Shaw on my playing. His musical thoughts have worked their way into my language, because they've always been the basis for my musical speech, as it were. </span></p><p><span style="font-family: verdana;">So maybe this explains why I've taken so long to review these recordings. I think this box might represent the finest documents of Artie Shaw's playing and musical mind. And because of that, for me at least, they might be the greatest performances of what is known as the Swing Era, by any band. They document an important period for Shaw - from just before "Begin the Beguine" catapulted him to nationally recognized fame (and fortune), to his second (but thankfully not final) retirement. These recordings follow him from what he described as the "rat trap" that was the Blue Room at New York City's Lincoln Hotel in the Fall of 1938, through his stay at the Summer Terrace of Ritz Carlton in Boston during the Summer of 1939, to the glamour of the Cafe Rouge at the Hotel Pennsylvania in New York, where Shaw snapped at last and, in an effort to preserve his sanity and health, abruptly walked off the stage in the middle of a performance, never to return with this group again. It seemed a career ending move at the time. Fortunately for the rest of us, it wasn't, but even if it had been we'd have no cause to complain, as Shaw and this band left us some of the finest music of jazz history. This box is even more important than the great studio recordings made by the Artie Shaw Orchestra at the time, because it's live. </span><span style="font-family: verdana;"> </span></p><p><span style="font-family: verdana;">With very rare exception, I always prefer live recordings, even with all their flaws. Whether we're talking about Benny Goodman's Madhattan Room Broadcasts, Duke Ellington's All Star Road Band, or classical recordings like <a href="http://seddon-done.blogspot.com/2023/08/cd-box-review-vaughan-williams-nine.html" target="_blank">Gennady Rozhdestvensky's live cycle of the Vaughan Williams symphonies</a>, there is an immediacy and an interactive excitement that cannot be replicated without an audience. As a performer, both in the classical and jazz realms, I can attest to being more creative and alive on stage than in any rehearsal or studio session. Audiences draw things out of performers that can't be imitated. These recordings are no exception - they are almost all more interesting and exciting than their studio counterparts. Shaw himself was interviewed and served as a consultant for this set, and the booklet provides almost track by track observations from the great clarinetist. </span></p><p><span style="font-family: verdana;">Unlike Benny Goodman's Madhattan Room Broadcasts, which were re-released in a six CD box in the 1990s, the tracks from these three discs are not released in strict chronological order, but chosen from the three broadcast locations in New York and Boston, to create three re-imagined "sets." Pete Kline seems to have made the choices for these sets (he's credited as the Box Set producer and compiler). He did an excellent job - the listener might be forgiven for thinking these were three complete performances from three evenings. It also speaks the amazing consistency of Shaw's band over the course of more than a year. The performances from Boston aren't notably different from the ones in New York, either before or after the groups Cinderella success. If you'd told me they were all from the same location, from the same weekend, I'd believe you. </span></p><p><span style="font-family: verdana;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfRmjS8JLOoGIcDVpdP_2QTcALLT2YaUw2kSnn7R1KHtgqnSQIgbF88hgZrN2X2qXONxzAU-JkXFPBr9pJYPjOGJPgAZhwoL-PLKiNF84FHlVPnlyoBGrANxFLfh2yMewfLu4IbHz9D9_zVIZVg-HY72aaahopzizE8FxsZEUciw4lXlmxbAEnIFLo00U/s4000/Artie%20Booklet.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4000" data-original-width="3000" height="534" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfRmjS8JLOoGIcDVpdP_2QTcALLT2YaUw2kSnn7R1KHtgqnSQIgbF88hgZrN2X2qXONxzAU-JkXFPBr9pJYPjOGJPgAZhwoL-PLKiNF84FHlVPnlyoBGrANxFLfh2yMewfLu4IbHz9D9_zVIZVg-HY72aaahopzizE8FxsZEUciw4lXlmxbAEnIFLo00U/w401-h534/Artie%20Booklet.jpg" width="401" /></a></div><br /><span style="font-family: verdana;"><br /></span><p></p><p><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;">Most of the arrangements for these charts were done by Artie Shaw, Jerry Gray, and the guitarist for the band Al Avola. They represent the epitome of Shaw's style - lyrical melody, clear dialogue and counterpoint between the sections - nothing pedantic muddying up matters; they're a study of beauty without sentimentality. And slotted throughout the arrangements, some of the finest jazz soloing ever captured. </span></p><p><span style="font-family: verdana;">Leading off with "Rose Room" from the Ritz-Carlton on August 19, 1939, we hear Artie's lyrical virtuosity at work. I don't know if anyone possessed a melodic gift to the degree he did at this point in his career. In many ways he reminds me of a jazz version of Tchaikovsky. His rhythmic variety alone during his solos, combined with an ability to craft the most intricate melodic ideas all within the space of a chorus (or at times half a chorus) remains, for me, unmatched. When jazz embraced bebop language, it lost some of this lyricism, in my opinion. I've always felt it would be worthwhile to use Artie's lyricism as a starting point, and develop jazz in a different direction - less modernist, more romantic. It's actually what I try to do myself as a player. Anyhow, we hear Artie at zenith here. his solos on "Rose Room", "Carioca", "Yesterdays", "Sweet Adeline", "One Foot in the Groove", "Man from Mars", "Stardust", "Out of Nowhere", "St Louis Blues", "It Had to be You", "I Can't Give You Anything But Love", "I Cover the Waterfront" and more are classics. For any musician they are a clinic of creativity, beauty, and invention. I cannot wrap my mind around the fact that he wasn't just soloing here, but leading the band as well - and the band is in incredible form - relaxed, warm, swinging - a type of perfection rarely accomplished by any ensemble of any musical genre.</span></p><p><span style="font-family: verdana;">(For those wanting a sample, the recording of <a href="https://www.youtube.com/watch?v=qf1Zrm2fASM" target="_blank">"The Carioca"</a> here cannot be surpassed. From a teenage Buddy Rich chirping in the background, to Artie's endless variations - including his stellar choruses over the band at the end, it's a must for any jazz collection).</span></p><p><span style="font-family: verdana;">There is plenty of great soloing by other members of the band in this set, but the star is Shaw. Helen Forrest, my favorite of the girl singers back then, is in top form on these recordings too. Her intelligent, heart rending versions of "Comes Love", "Don't Worry 'Bout Me", and "Two Sleepy People" in particular remain my favorite versions of these tunes by a singer. Tony Pastor, though he was admittedly a bit of a novelty singer in addition to being a solid tenor sax, is in good form here too - adding humor, and even a little pathos to the fine arrangements he sang over. </span></p><p><span style="font-family: verdana;">When Artie left the bandstand in November of 1939, leaving this band and seemingly his career as a musician behind, it was widely believed that he did it out disgust for the music business and its hassles, along with the wildness of the teenage fans who annoyed him with their antics. But listening to these recordings, once again, this morning, I can't help but wonder if he psychologically needed a break from the intense creating he was doing on a nightly basis. I'm not sure many musicians have sustained such lyrical invention and technical brilliance over the course of a twelve month span as we have documented here. And to do it while leading one of the finest ensembles in the world - it's beyond what I can fathom.</span></p><p><span style="font-family: verdana;">As I wrote above, if he had never returned to music, we would have no reason to be anything but grateful. Fortunately for us, he added more brilliant chapters to his career and to jazz history. As great as those were, however, none surpassed the perfection he achieved in the year spanning from November 1938 to November 1939. </span></p><p><br /></p><p><span style="color: #0b5394; font-family: verdana;"><b></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #0b5394; font-family: verdana;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjALZiJZ5Gzq3my3GGA9hUAuC5IJ8KZC3bkdApGN784UQHJwu-J0TY-cOHay0VtNDQAstl2za2-bgVWksKgF1L0n8AYpVlsKQsOLwbH3TBAaLkBPMvzK-PO6rXuYOcrEKqLWwOWA8AeBAiFviUY1FIQEUJCE2Rk2blVzU-oi-o2HPMMBe3N7JImQe5WJSg/s4000/Artie%20Set.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4000" data-original-width="3000" height="617" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjALZiJZ5Gzq3my3GGA9hUAuC5IJ8KZC3bkdApGN784UQHJwu-J0TY-cOHay0VtNDQAstl2za2-bgVWksKgF1L0n8AYpVlsKQsOLwbH3TBAaLkBPMvzK-PO6rXuYOcrEKqLWwOWA8AeBAiFviUY1FIQEUJCE2Rk2blVzU-oi-o2HPMMBe3N7JImQe5WJSg/w463-h617/Artie%20Set.jpg" width="463" /></a></b></span></div><span style="color: #0b5394; font-family: verdana;"><b><br /><i><br /></i></b></span><p></p><p><span style="color: #0b5394; font-family: verdana;"><b><i>***</i></b></span></p><p><span style="font-family: verdana;">Epilogue: I bought this box, of all places, at Tower Records in New Orleans in 1999. I wasn't aware of its existence until seeing it there, and immediately appreciated the irony of going all the way to New Orleans just to end up buying Artie Shaw discs. It was on the return to Indiana (where I lived as a grad student) that the importance of the purchase became apparent. Driving all through the night from New Orleans to Bloomington, through Louisiana, Mississippi, Tennessee, and Kentucky, my wife and I played these discs over and over. They were a match for the heartland landscape at night, perfectly engaging, managing to keep me awake and in a type of elated awe for hundreds of miles. I'll never forget the experience. My admiration for these recordings hasn't flagged in the twenty four years since. </span></p><p><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;"><br /></span></p>Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-49119635848465547352023-08-11T10:19:00.005-04:002023-08-16T07:26:07.295-04:00More of My Writing at the Seddon Done blog!<p>For those interested, I've published another blog for years entitled<i><b> <a href="http://seddon-done.blogspot.com/" target="_blank">Seddon Done</a></b></i>. Much of that time, it's been basically dormant; serving as a place for me to collectively present academic articles I'd published in various journals. </p><p>Over the last week or so, though, I've decided to revitalize <i><b>Seddon Done</b></i> and focus for the foreseeable future on CD reviews and other work in the realm of classical and jazz music. </p><p>If any of you readers of <i><b>The Jazz Clarinet</b></i> have an interest in more of my musical and artistic thought, <i><b>Seddon Done</b></i> is the blog for you. Hope to see some of you over there! </p><p><a href="http://seddon-done.blogspot.com/" target="_blank">http://seddon-done.blogspot.com/ </a></p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicKI_uOQt7vXESPlEOZa8pNM2TYDdVmnpn5OSpMIIsDJGqs-WOdiQec77lb5pfPzRIgNMseFbIxVq99kyzwY0rSOLmr3rhUzAf4rHhDLxVkPSQN1D-IF6E3HYQzxNLOWc5QwBAamShD5zVt9Z7_Czx1JdTGMJu_CZKBibkCDmsNCTeIxYoj0n5gxpDYz4/s3000/Improved%20Masthead.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="940" data-original-width="3000" height="137" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicKI_uOQt7vXESPlEOZa8pNM2TYDdVmnpn5OSpMIIsDJGqs-WOdiQec77lb5pfPzRIgNMseFbIxVq99kyzwY0rSOLmr3rhUzAf4rHhDLxVkPSQN1D-IF6E3HYQzxNLOWc5QwBAamShD5zVt9Z7_Czx1JdTGMJu_CZKBibkCDmsNCTeIxYoj0n5gxpDYz4/w439-h137/Improved%20Masthead.jpg" width="439" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><br /><p></p>Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-53461946133556220332021-12-23T14:56:00.002-05:002021-12-23T14:56:14.942-05:00Gear Review: 1927 New Wonder II Soprano Saxophone<p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjkgW01SvIQPlHn-U2QlqpUbzuqPwROTLRSrQFywmHg3W51NOdptitOvVdIs_UII146ISQ--risgfQ3QJ4HQ70EW6C1RMk48hGEn8VVdZVkxILdJoD33ytQUd6mW7FEJ578YCgnLpNwoK5mT5JVPSheZFIwzp0Sqg1P1coL2Wn_HEOiFlol9u407iv1=s1440" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1440" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEjkgW01SvIQPlHn-U2QlqpUbzuqPwROTLRSrQFywmHg3W51NOdptitOvVdIs_UII146ISQ--risgfQ3QJ4HQ70EW6C1RMk48hGEn8VVdZVkxILdJoD33ytQUd6mW7FEJ578YCgnLpNwoK5mT5JVPSheZFIwzp0Sqg1P1coL2Wn_HEOiFlol9u407iv1=w400-h300" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">1927 Conn New Wonder II Soprano Saxophone<br />Eric Seddon Collection</td></tr></tbody></table><br />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?</p><p>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. </p><p>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. </p><p>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.</p><p>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.</p><p>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. </p><p>Now some caveats, for those who might be interested:</p><p>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. </p><p>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. </p><p>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. </p><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj6OeZ53SzAzBYZqhwT5f7tEVT8Gw4NsSZaeHkHg3AGshIMFU5iFf2vE3IdjmQk6unHhSQRf65kkqizL4wcdHFO3AIjo915JTX-OPW3PuiKQpbWY9qUFTSwMdt0lAbYnrLST91OCZ66VqMLl5Vecx8wj5QqrFUq3XCaT_Qqfo3NFlZEToSWrS4BIqAw=s4000" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4000" data-original-width="3000" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEj6OeZ53SzAzBYZqhwT5f7tEVT8Gw4NsSZaeHkHg3AGshIMFU5iFf2vE3IdjmQk6unHhSQRf65kkqizL4wcdHFO3AIjo915JTX-OPW3PuiKQpbWY9qUFTSwMdt0lAbYnrLST91OCZ66VqMLl5Vecx8wj5QqrFUq3XCaT_Qqfo3NFlZEToSWrS4BIqAw=w300-h400" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Thumb Ring of a 1927 Conn Soprano Sax<br />Eric Seddon Collection</td></tr></tbody></table><br />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. </p><p>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. </p><p><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgeuKRcvgxDoq777-D8vqELlFjWB1JU2dxWyLmAOQzCnFaRY_lgNwsQq_ovTAAohvyl5gfXLhpKzEdVZudh29c6aTR2LKAx1HCbA2AC_v3nwKjsZuNW5aEtE4cpXjjmnZTq2YpAM_Dz8ZVDnXapFvmvpMdH3jIWRhtqnu2Rk2VojfkwbjxJguk7mXZR=s4000" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4000" data-original-width="3000" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEgeuKRcvgxDoq777-D8vqELlFjWB1JU2dxWyLmAOQzCnFaRY_lgNwsQq_ovTAAohvyl5gfXLhpKzEdVZudh29c6aTR2LKAx1HCbA2AC_v3nwKjsZuNW5aEtE4cpXjjmnZTq2YpAM_Dz8ZVDnXapFvmvpMdH3jIWRhtqnu2Rk2VojfkwbjxJguk7mXZR=w300-h400" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">1927 Conn New Wonder II detail: Palm Keys<br />Eric Seddon Collection</td></tr></tbody></table><br /> 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. </p><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjh6cdy-o-795H3H_vLeAc2kkkyRLN5WF8vKfrQb0twoFiG3EMS_ZIzsbrt_cVLIBNW395GJG7BOuTuhcO2opFkUPvEdBA3m5xNSf2SwBJfPw4u7dqa31WcuPETuVdejMJpSUR8fgyHcmUFxC1HksnYMmVq0xQdn7Wp20N7vludNtLLt0X-kpus8LkA=s4000" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4000" data-original-width="3000" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEjh6cdy-o-795H3H_vLeAc2kkkyRLN5WF8vKfrQb0twoFiG3EMS_ZIzsbrt_cVLIBNW395GJG7BOuTuhcO2opFkUPvEdBA3m5xNSf2SwBJfPw4u7dqa31WcuPETuVdejMJpSUR8fgyHcmUFxC1HksnYMmVq0xQdn7Wp20N7vludNtLLt0X-kpus8LkA=w300-h400" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">1927 Conn New Wonder II detail: Spatula Keys<br />Eric Seddon Collection<br /></td></tr></tbody></table><br /><br /><br />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. </p><p>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. </p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiPptqMZHOCNxltPnEeEzlJqHUtrwDP8LDj8K45RtG6OOcxaBm9lbaI-AttMGPNe84zUQKUc_CM5n8C9DvIAHkgDDxxFzK3QgXAsZrXvDxnyfubjnedmRlUMQeNfL1mJlCOgZZs5LSz2rD4zcDiecdQmBjarkQu0zJYD1mD2zX1RNXQitzEgilTodYb=s2185" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2185" data-original-width="1832" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEiPptqMZHOCNxltPnEeEzlJqHUtrwDP8LDj8K45RtG6OOcxaBm9lbaI-AttMGPNe84zUQKUc_CM5n8C9DvIAHkgDDxxFzK3QgXAsZrXvDxnyfubjnedmRlUMQeNfL1mJlCOgZZs5LSz2rD4zcDiecdQmBjarkQu0zJYD1mD2zX1RNXQitzEgilTodYb=w335-h400" width="335" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">photo credit: Elisa Seddon</td></tr></tbody></table><br /><p><br /></p><p>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. </p><p> <br /><br /> </p><p> <br /><br /></p>Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-77250642299359592602021-10-22T14:03:00.000-04:002021-10-22T14:03:43.822-04:00Jazz Clarinet Gear Review: 'Golden Era' 1966 Buffet R13 (possibly owned by Bud Shank)<p>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. </p><p>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 <a href="https://thejazzclarinet.blogspot.com/2012/12/jazz-clarinet-gear-review-1990-buffet.html" target="_blank">was frustrated by them</a>. </p><p>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 <a href="https://thejazzclarinet.blogspot.com/search?q=selmer+review" target="_blank">Selmer </a>or <a href="https://thejazzclarinet.blogspot.com/2020/03/clarinet-gear-review-reginald-kells.html">Boosey</a> & <a href="https://thejazzclarinet.blogspot.com/2012/08/jazz-clarinet-gear-review-boosey-hawkes.html" target="_blank">Hawkes</a>, 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. </p><p>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. </p><p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhHkQP7nw8L-KoFbc9guChFwYIsBF-3aUiIEU3ItdXU9uRZJqS2RrZ3b6WF2gwME_G3qQ-BhL9Joni_WbQCBV0Wh2pKPPrbNtmb786znyqvWXpp_l7yLSNJsDpHwGET-884fQgiZUqI8rDaHqD0rmV8EGnZAunGuKwZdMbfgzIcK2AD6zDujq5ve5TU=s2048" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1536" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEhHkQP7nw8L-KoFbc9guChFwYIsBF-3aUiIEU3ItdXU9uRZJqS2RrZ3b6WF2gwME_G3qQ-BhL9Joni_WbQCBV0Wh2pKPPrbNtmb786znyqvWXpp_l7yLSNJsDpHwGET-884fQgiZUqI8rDaHqD0rmV8EGnZAunGuKwZdMbfgzIcK2AD6zDujq5ve5TU=w480-h640" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">1966 Buffet R13 </td></tr></tbody></table><br /></p><p>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 <a href="https://thejazzclarinet.blogspot.com/2012/06/jazz-clarinet-gear-review-1955-selmer.html" target="_blank">1955 Selmer Centered Tone</a>, 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. </p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi4-3B8_wTsoVlKiCCz9ec7fCOTfO4vfmTDwRPusGtCK_lhmhK1gdBUKvI9q7W2W-zgvSGWqZ6qOddRwTIt3myD3jl48aYHaSpr7rdVGNabaoMKfsu7qX8sTmEKlCfYADmgVRQOvFuUQI8wp4u8CuTaRISDQKgxXqa621WcTuKgG_rn5HFOheXOOgzx=s2048" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1536" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEi4-3B8_wTsoVlKiCCz9ec7fCOTfO4vfmTDwRPusGtCK_lhmhK1gdBUKvI9q7W2W-zgvSGWqZ6qOddRwTIt3myD3jl48aYHaSpr7rdVGNabaoMKfsu7qX8sTmEKlCfYADmgVRQOvFuUQI8wp4u8CuTaRISDQKgxXqa621WcTuKgG_rn5HFOheXOOgzx=w480-h640" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">1966 Buffet R13</td></tr></tbody></table><br /><p>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. </p><p>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. </p><p>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. </p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgROC-0bnJqO-Z_p5L155vThu7c90Gs6s2vfvZ6RiBvHwdxl8gAD-eONUCAIu4nt4K4OvXlmnFt3cUK-R19F-4uUXBgZ9Xqv51y0GhiqExf_FPerBecuwlbG2x4PfNgdfiKyuvz0o0_OegMrCA4XYGBSWses_OSTHEnArWZgML4SVGDDA_8VJlPnIxz=s2048" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" height="480" src="https://blogger.googleusercontent.com/img/a/AVvXsEgROC-0bnJqO-Z_p5L155vThu7c90Gs6s2vfvZ6RiBvHwdxl8gAD-eONUCAIu4nt4K4OvXlmnFt3cUK-R19F-4uUXBgZ9Xqv51y0GhiqExf_FPerBecuwlbG2x4PfNgdfiKyuvz0o0_OegMrCA4XYGBSWses_OSTHEnArWZgML4SVGDDA_8VJlPnIxz=w640-h480" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">1966 Buffet R13</td></tr></tbody></table><br /><p><br /></p><p> </p>Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-60443703762405594262021-09-15T18:39:00.001-04:002021-09-15T18:39:54.273-04:00My Interview for The ClarinetI'm honored to have been <a href="https://clarinet.org/an-interview-with-eric-seddon/">interviewed by Eva Wasserman-Margolis</a> for <i>The Clarinet</i> (the journal of the International Clarinet Association). <div><br /></div><div>In the interview, Eva and I discuss jazz, faith, and family. Enjoy!</div><div><br /></div><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-IGNuVMrqbPI/YUJ11-wccFI/AAAAAAAAAlw/XNL-cB24HpMJXSml5nukrrUMbKwV3ku8QCLcBGAsYHQ/s979/Arrow%2BSign%2B%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="747" height="400" src="https://1.bp.blogspot.com/-IGNuVMrqbPI/YUJ11-wccFI/AAAAAAAAAlw/XNL-cB24HpMJXSml5nukrrUMbKwV3ku8QCLcBGAsYHQ/w305-h400/Arrow%2BSign%2B%25282%2529.jpg" width="305" /></a></div><br /></div>Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-40404933130989441252021-08-08T19:03:00.000-04:002021-08-08T19:03:11.600-04:00Vintage Y2K Don Byron Interview<p> For some reason, I've just finally stumbled across a <a href="https://nmbx.newmusicusa.org/interview-with-don-byron/3/" target="_blank">short but fascinating interview</a> 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. </p><p>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. </p><p><br /></p><p><br /></p><p><br /></p>Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-22627937489301398622021-01-05T16:03:00.000-05:002021-01-05T16:03:28.806-05:00Ken Peplowski on Benny Goodman (for the LAST TIME!)<p>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. </p><p><a href="https://www.kenpeplowski.com/" target="_blank">Ken Peplowski's website</a> 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 "<a href="https://www.kenpeplowski.com/blog/2019/6/13/my-absolutely-last-words-on-benny-goodman" target="_blank">My ABSOLUTELY Last Words on Benny Goodman!</a>" </p><p>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. </p><p>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? </p><p>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. </p><p>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. </p>Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-63022921366125031332021-01-04T14:08:00.003-05:002021-01-04T16:11:46.045-05:00ICCC Jazz Division Winners<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-k8OX7MFT2Pc/X_CVg86qUhI/AAAAAAAAAd0/CaW8hW3uZJQkOdR9gTuZWlwk9PWzDDm3wCLcBGAsYHQ/image.png" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="500" data-original-width="500" height="303" src="https://lh3.googleusercontent.com/-k8OX7MFT2Pc/X_CVg86qUhI/AAAAAAAAAd0/CaW8hW3uZJQkOdR9gTuZWlwk9PWzDDm3wCLcBGAsYHQ/w303-h303/image.png" width="303" /></a></div><br /><br /><p></p><p><br /></p><p><span style="font-family: inherit;">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 <a href="https://sites.bsu.edu/iccc/" target="_blank">International Clarinet Corona Competition</a>. This grass roots effort to help younger professionals gain some exposure was spearheaded by <span style="background-color: white; font-weight: inherit;">Artistic </span><span style="background-color: white;">Directors </span><a href="https://www.evawassermanmargolis.com/" rel="nofollow noopener noreferrer" style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; transition: color 0.3s ease 0s; vertical-align: baseline;" target="_blank">Eva Wasserman-Margolis</a><span style="background-color: white;">, </span><a href="https://www.bsu.edu/academics/collegesanddepartments/music/about-us/faculty-and-staff/woodwinds/crawfordelizabeth" rel="nofollow noopener noreferrer" style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; transition: color 0.3s ease 0s; vertical-align: baseline;" target="_blank">Elizabeth Crawford</a><span style="background-color: white;">, and </span><a href="https://www.dianahaskellclarinet.com/" rel="nofollow noopener noreferrer" style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; transition: color 0.3s ease 0s; vertical-align: baseline;" target="_blank">Diana Haskell</a><span style="background-color: white; font-weight: inherit;"> and coordinated by Dylan James. </span></span></p><p><span style="background-color: white;"><span style="font-family: inherit;">In was honored with the request to serve on a panel comprised of the leading jazz clarinetists of our time:</span></span></p><p><span face="Open Sans, sans-serif"><span style="background-color: white; font-size: 20px;"><br /></span></span></p><p><strong style="background-color: white; border: 0px; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Jazz Judges</strong><img alt="" class="wp-image-99 alignleft" height="316" loading="lazy" sizes="(max-width: 395px) 100vw, 395px" src="https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/11/06081445/1-300x240.jpg" srcset="https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/11/06081445/1-300x240.jpg 300w, https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/11/06081445/1-1024x819.jpg 1024w, https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/11/06081445/1-768x614.jpg 768w, https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/11/06081445/1-1536x1229.jpg 1536w, https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/11/06081445/1.jpg 2000w" style="background-color: white; border: 0px; float: left; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; height: auto; line-height: inherit; margin: 0px 1em 1em 0px; max-width: 100%; padding: 0px; vertical-align: baseline; width: auto;" width="395" /><br style="background-color: white; font-family: "Open Sans", sans-serif; font-size: 16px;" /><a href="https://www.music.northwestern.edu/faculty/profile/victor-goines" style="background-color: white; border: 0px; color: #54585a; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; transition: color 0.3s ease 0s; vertical-align: baseline;">Victor Goines</a><span face=""Open Sans", sans-serif" style="background-color: white; font-size: 16px;">, Facilitator</span><br style="background-color: white; font-family: "Open Sans", sans-serif; font-size: 16px;" /><a href="https://www.selmer.fr/en/artist/stephane-chausse" style="background-color: white; border: 0px; color: #54585a; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; transition: color 0.3s ease 0s; vertical-align: baseline;">Stéphane Chausse</a><br style="background-color: white; font-family: "Open Sans", sans-serif; font-size: 16px;" /><a href="https://www.anatcohen.com/biography" style="background-color: white; border: 0px; color: #54585a; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; transition: color 0.3s ease 0s; vertical-align: baseline;">Anat Cohen</a><br style="background-color: white; font-family: "Open Sans", sans-serif; font-size: 16px;" /><a href="https://www.andyfirthmusic.com/about-andy/" style="background-color: white; border: 0px; color: #54585a; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; transition: color 0.3s ease 0s; vertical-align: baseline;">Andy Firth</a><br style="background-color: white; font-family: "Open Sans", sans-serif; font-size: 16px;" /><a href="https://www.doreensjazz.com/bio.htm" style="background-color: white; border: 0px; color: #54585a; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; transition: color 0.3s ease 0s; vertical-align: baseline;">Doreen Ketchens</a><br style="background-color: white; font-family: "Open Sans", sans-serif; font-size: 16px;" /><a href="https://www.andymiles.de/en-1/" style="background-color: white; border: 0px; color: #54585a; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; transition: color 0.3s ease 0s; vertical-align: baseline;">Andy Miles</a><br style="background-color: white; font-family: "Open Sans", sans-serif; font-size: 16px;" /><a href="http://www.elba-music.it/en/gabriele-mirabassi-clarinet/" style="background-color: white; border: 0px; color: #54585a; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; transition: color 0.3s ease 0s; vertical-align: baseline;">Gabriele Mirabassi</a><br style="background-color: white; font-family: "Open Sans", sans-serif; font-size: 16px;" /><a href="http://www.kingclarinet.com/" style="background-color: white; border: 0px; color: #54585a; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; transition: color 0.3s ease 0s; vertical-align: baseline;">Felix Peikli</a><br style="background-color: white; font-family: "Open Sans", sans-serif; font-size: 16px;" /><a href="https://www.kenpeplowski.com/bio-1" style="background-color: white; border: 0px; color: #54585a; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; transition: color 0.3s ease 0s; vertical-align: baseline;">Ken Peplowski</a><br style="background-color: white; font-family: "Open Sans", sans-serif; font-size: 16px;" /><a href="https://drive.google.com/file/d/1FAML1zrCD91O1323-7UZ3yQxdZPL61x5/view?usp=sharing" style="background-color: white; border: 0px; color: #54585a; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; transition: color 0.3s ease 0s; vertical-align: baseline;">Soheil Peyghambari</a><br style="background-color: white; font-family: "Open Sans", sans-serif; font-size: 16px;" /><a href="https://drive.google.com/file/d/1Wim5rgLPmMFAFFtR6C9LN-BF4Wp5fr_P/view?usp=sharing" style="background-color: white; border: 0px; color: #54585a; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; transition: color 0.3s ease 0s; vertical-align: baseline;">Nailor Proveta</a><br style="background-color: white; font-family: "Open Sans", sans-serif; font-size: 16px;" /><a href="https://ericseddon.wixsite.com/mysite" style="background-color: white; border: 0px; color: #54585a; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; transition: color 0.3s ease 0s; vertical-align: baseline;">Eric Seddon</a></p><p> </p><p>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. </p><p>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.</p><p>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. </p><p>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). </p><p>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. </p><p> So without further ado, the THIRD PRIZE of the ICCC Jazz Division went to <b><a href="https://tunezin.com/tutor-details/en/f71598e4-1a5e-4712-ba38-87aa9119fc60" target="_blank">JOAQUIN SOSA</a>:</b> </p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/lumOSqLJ6QM" width="320" youtube-src-id="lumOSqLJ6QM"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/QgV2Xh9Y_gA" width="320" youtube-src-id="QgV2Xh9Y_gA"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/C4gXgtq1ZxA" width="320" youtube-src-id="C4gXgtq1ZxA"></iframe></div><br /> <div><br /></div><div><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><span lang="EN-US" style="font-family: inherit;"><b>From Andy Firth:</b></span></p><p class="MsoNormal" style="background-color: white; color: #222222; margin: 0cm 0cm 0.0001pt;"><br /></p><p class="MsoNormal" style="background-color: white; color: #222222; margin: 0cm 0cm 0.0001pt;"><span lang="EN-US" style="color: #1f497d;"><span style="color: #222222; font-family: inherit;"><b><i>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. </i></b></span></span></p><p class="MsoNormal" style="background-color: white; color: #222222; margin: 0cm 0cm 0.0001pt;"><span lang="EN-US" style="color: #1f497d;"><span style="color: #222222; font-family: inherit;"><b><i><br /></i></b></span></span></p><p class="MsoNormal" style="background-color: white; color: #222222; margin: 0cm 0cm 0.0001pt;"><span lang="EN-US" style="color: #1f497d;"><span style="color: #222222; font-family: inherit;"><b>From Doreen Ketchens:</b></span></span></p><p class="MsoNormal" style="background-color: white; color: #222222; margin: 0cm 0cm 0.0001pt;"><span lang="EN-US" style="color: #1f497d;"><span style="color: #222222; font-family: inherit;"><b><br /></b></span></span></p><p class="MsoNormal" style="background-color: white; color: #222222; margin: 0cm 0cm 0.0001pt;"><span lang="EN-US" style="color: #1f497d;"><span style="color: #222222; font-family: inherit;"><b><i>Joaquin - Beautiful tone, technique and a balance of melody and solo that kept my attention. Joaquin's personality, shines throughout his performance.</i></b></span></span></p><div><b style="font-family: inherit;"><br /></b></div><div><b style="font-family: inherit;">From Nailor Proveta:</b></div><p><span style="font-family: inherit;"><b><i><span face="Calibri, sans-serif" lang="EN-US">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,.....</span></i></b><b><i><span face="Calibri, sans-serif" lang="EN-US">It was very clear this strong feeling of JAZZ... Showing freedom to all musicians!</span></i></b></span></p><p><span style="font-family: inherit;"><b><span face="Calibri, sans-serif" lang="EN-US">From Eric Seddon:</span></b></span></p><p><span style="font-family: inherit;"><b><span face="Calibri, sans-serif" lang="EN-US"><i>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. </i> </span></b></span></p><p><br /></p><p><span style="font-family: inherit;"><b><span face="Calibri, sans-serif" lang="EN-US">SECOND PRIZE of the ICCC Jazz Division went to <a href="https://www.ewanbleach.com/" target="_blank">EWAN BLEACH</a>:</span></b></span></p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: "Times New Roman", serif; font-size: 12pt; margin: 0cm 0cm 0.0001pt;"><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/xqfcHKc7qJs" width="320" youtube-src-id="xqfcHKc7qJs"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Ip_6e1OUTYI" width="320" youtube-src-id="Ip_6e1OUTYI"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/6bkn66gKgVg" width="320" youtube-src-id="6bkn66gKgVg"></iframe></div><br /><p class="MsoNormal" style="background-color: white; color: #222222; font-family: "Times New Roman", serif; font-size: 12pt; margin: 0cm 0cm 0.0001pt;"><br /></p><p class="MsoNormal" style="background-color: white; color: #222222; margin: 0cm 0cm 0.0001pt;"><span style="font-family: inherit;"><b>From Andy Firth:</b></span></p><p class="MsoNormal" style="background-color: white; color: #222222; margin: 0cm 0cm 0.0001pt;"><span style="font-family: inherit;"><b><br /></b></span></p><p class="MsoNormal" style="background-color: white; color: #222222; margin: 0cm 0cm 0.0001pt;"><span lang="EN-US" style="color: #1f497d;"><span style="color: #222222; font-family: inherit;"><b><i>Re: Ewan Bleach</i></b></span></span></p><p class="MsoNormal" style="background-color: white; color: #222222; margin: 0cm 0cm 0.0001pt;"><span lang="EN-US" style="color: #1f497d;"><span style="color: #222222; font-family: inherit;"><b><i><br /></i></b></span></span></p><p class="MsoNormal" style="background-color: white; color: #222222; margin: 0cm 0cm 0.0001pt;"><span lang="EN-US" style="color: #1f497d;"><span style="color: #222222; font-family: inherit;"><b><i>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.</i> </b></span></span></p><p class="MsoNormal" style="background-color: white; color: #222222; margin: 0cm 0cm 0.0001pt;"><span lang="EN-US" style="color: #1f497d;"><span style="color: #222222; font-family: inherit;"><b><br /></b></span></span></p><p class="MsoNormal" style="background-color: white; color: #222222; margin: 0cm 0cm 0.0001pt;"><span lang="EN-US" style="color: #1f497d;"><span style="color: #222222; font-family: inherit;"><b>From Doreen Ketchens:</b></span></span></p><p class="MsoNormal" style="background-color: white; color: #222222; margin: 0cm 0cm 0.0001pt;"><span lang="EN-US" style="color: #1f497d;"><span style="color: #222222; font-family: inherit;"><b><br /></b></span></span></p><p class="MsoNormal" style="background-color: white; color: #222222; margin: 0cm 0cm 0.0001pt;"><span lang="EN-US" style="color: #1f497d;"><span style="color: #222222; font-family: inherit;"><b><i>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.</i></b></span></span></p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: "Times New Roman", serif; font-size: 12pt; margin: 0cm 0cm 0.0001pt;"><br /></p><p class="MsoNormal" style="background-color: white; color: #222222; margin: 0cm 0cm 0.0001pt;"><span style="font-family: inherit;"><b>From Nailor Proveta:</b></span></p><p class="MsoNormal" style="background-color: white; color: #222222; margin: 0cm 0cm 0.0001pt;"><span style="font-family: inherit;"><b><br /></b></span></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><b><i><span lang="EN-US" style="font-family: inherit;">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!</span></i></b></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><b><i><span lang="EN-US" style="font-family: inherit;"><br /></span></i></b></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><b><span lang="EN-US" style="font-family: inherit;">From Eric Seddon:</span></b></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><b><span lang="EN-US" style="font-family: inherit;"><br /></span></b></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><b><i>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! </i></b></p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: "Times New Roman", serif; font-size: 12pt; margin: 0cm 0cm 0.0001pt;"><br /></p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: "Times New Roman", serif; font-size: 12pt; margin: 0cm 0cm 0.0001pt;"><br /></p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: "Times New Roman", serif; font-size: 12pt; margin: 0cm 0cm 0.0001pt;"><br /></p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: "Times New Roman", serif; font-size: 12pt; margin: 0cm 0cm 0.0001pt;"><b>FIRST PRIZE in the ICCC Jazz Division went to <a href="https://virginiamacdonald.ca/" target="_blank">VIRGINIA MACDONALD</a>:</b></p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: "Times New Roman", serif; font-size: 12pt; margin: 0cm 0cm 0.0001pt;"><b><br /></b></p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: "Times New Roman", serif; font-size: 12pt; margin: 0cm 0cm 0.0001pt;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/LTP8wA7WZmo" width="320" youtube-src-id="LTP8wA7WZmo"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/SUMW_0Dsa2U" width="320" youtube-src-id="SUMW_0Dsa2U"></iframe></div><br /><b><br /></b><p></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><span lang="EN-US" style="font-family: inherit;"><b>From Andy Firth:</b></span></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><span lang="EN-US" style="color: red; font-family: inherit;"><b><i><br /></i></b></span></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><span lang="EN-US" style="font-family: inherit;"><b><i>Re: Virginia Macdonald:</i></b></span></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><span lang="EN-US" style="font-family: inherit;"><b><i><br /></i></b></span></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><span face="Calibri, sans-serif" lang="EN-US"><span style="font-family: inherit;"><b><i>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. </i></b></span></span></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><span style="font-family: inherit;"><b><i><br /></i></b></span></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><span style="font-family: inherit;"><b>From Doreen Ketchens:</b></span></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><span style="font-family: inherit;"><b><br /></b></span></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><span style="font-family: inherit;"><span style="color: #222222;"><b><i>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. </i></b></span></span></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><span style="font-family: inherit;"><b><i><br /></i></b></span></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><span style="font-family: inherit;"><b>From Nailor Proveta:</b></span></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><span style="font-family: inherit;"><b><i><br /></i></b></span></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><b><i><span lang="EN-US" style="font-family: inherit;">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!<u></u><u></u></span></i></b></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><b><i><span lang="EN-US" style="font-family: inherit;">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.<span style="color: red;"><u></u><u></u></span></span></i></b></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><b><i><span lang="EN-US" style="font-family: inherit;"><br /></span></i></b></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><b>[ 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. ]</b></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><b><br /></b></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><b><br /></b></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><b>From Eric Seddon:</b></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><b><br /></b></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><b><i>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 </i>by it<i>. 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.</i></b></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><b><i><br /></i></b></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><b><i><br /></i></b></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><b>From Felix Peikli [ regarding all three prize winners ]</b></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><b><br /></b></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><b><i><span style="font-family: inherit;"><span style="color: #222222;">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.</span> </span></i></b></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><b><i><br /></i></b></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><b><i><br /></i></b></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><br /></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt; text-align: center;">***</p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt; text-align: left;"><br /></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt; text-align: left;">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! </p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><br /></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><b><i><br /></i></b></p><p class="MsoNormal" style="background-color: white; margin: 0cm 0cm 0.0001pt;"><b><span style="color: red;">[ 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 ]</span><i> </i></b></p><div class="page-wrapper page-wrapper--with-sidebar" style="-webkit-box-flex: 1; background-color: white; border: 0px; flex: 1 1 0%; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 100px 0px 0px; padding: 0px; vertical-align: baseline;"><article class="post-43 page type-page status-publish hentry" style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><div class="post-content" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.6; margin: 0px 0px 3em; padding: 0px; vertical-align: baseline;"><h1 style="border: 0px; font-family: inherit; font-size: 28px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 300; line-height: inherit; margin: 0px 0px 0.5em; padding: 0px; text-align: center; vertical-align: baseline;"><br /></h1><p style="border: 0px; font: inherit; margin: 1em 0px; padding: 0px; vertical-align: baseline;"><img alt="" class="wp-image-80 aligncenter" height="420" loading="lazy" src="https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/05164029/266px-Buffet_Crampon_logo.svg_.png" style="border: 0px; clear: both; display: block; font: inherit; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline; width: auto;" width="383" /></p><p style="border: 0px; font: inherit; margin: 1em 0px; padding: 0px; vertical-align: baseline;"><img alt="" class="wp-image-82 alignright" height="233" loading="lazy" src="https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/05192613/lomax_logo-f.png" style="border: 0px; float: right; font: inherit; height: auto; margin: 0px 0px 1em 1em; max-width: 100%; padding: 0px; vertical-align: baseline; width: auto;" width="401" /></p><p style="border: 0px; font: inherit; margin: 1em 0px; padding: 0px; vertical-align: baseline;"><img alt="" class="wp-image-79 alignleft" height="191" loading="lazy" src="https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/05163754/Vandoren-logo-54CB8B996C-seeklogo.com_.png" style="border: 0px; float: left; font: inherit; height: auto; margin: 0px 1em 1em 0px; max-width: 100%; padding: 0px; vertical-align: baseline; width: auto;" width="438" /></p><p style="border: 0px; font: inherit; margin: 1em 0px; padding: 0px; vertical-align: baseline;"> </p><p style="border: 0px; font: inherit; margin: 1em 0px; padding: 0px; vertical-align: baseline;"><img alt="" class="size-medium wp-image-93 alignleft" height="112" loading="lazy" sizes="(max-width: 300px) 100vw, 300px" src="https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/22142544/Rovner-Logo-REG-2019-300x112.jpg" srcset="https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/22142544/Rovner-Logo-REG-2019-300x112.jpg 300w, https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/22142544/Rovner-Logo-REG-2019-1024x382.jpg 1024w, https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/22142544/Rovner-Logo-REG-2019-768x287.jpg 768w, https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/22142544/Rovner-Logo-REG-2019.jpg 1200w" style="border: 0px; float: left; font: inherit; height: auto; margin: 0px 1em 1em 0px; max-width: 100%; padding: 0px; vertical-align: baseline; width: auto;" width="300" /></p><p style="border: 0px; font: inherit; margin: 1em 0px; padding: 0px; vertical-align: baseline;"> </p><p style="border: 0px; font: inherit; margin: 1em 0px; padding: 0px; vertical-align: baseline;"> </p><p style="border: 0px; font: inherit; margin: 1em 0px; padding: 0px; vertical-align: baseline;"> </p><p style="border: 0px; font: inherit; margin: 1em 0px; padding: 0px; vertical-align: baseline;"> </p><p style="border: 0px; font: inherit; margin: 1em 0px; padding: 0px; vertical-align: baseline;"> </p><p style="border: 0px; font: inherit; margin: 1em 0px; padding: 0px; vertical-align: baseline;"> </p><p style="border: 0px; font: inherit; margin: 1em 0px; padding: 0px; vertical-align: baseline;"> </p><p style="border: 0px; font: inherit; margin: 1em 0px; padding: 0px; vertical-align: baseline;"><img alt="" class="wp-image-78 aligncenter" height="210" loading="lazy" sizes="(max-width: 208px) 100vw, 208px" src="https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/05163053/BG-France-297x300.jpg" srcset="https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/05163053/BG-France-297x300.jpg 297w, https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/05163053/BG-France-1013x1024.jpg 1013w, https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/05163053/BG-France-150x150.jpg 150w, https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/05163053/BG-France-768x776.jpg 768w, https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/05163053/BG-France.jpg 1426w" style="border: 0px; clear: both; display: block; font: inherit; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline; width: auto;" width="208" /><img alt="" class="wp-image-92 alignleft" height="156" loading="lazy" sizes="(max-width: 352px) 100vw, 352px" src="https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/21194318/ReedGeek-HiRes-Logo-300x133.jpg" srcset="https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/21194318/ReedGeek-HiRes-Logo-300x133.jpg 300w, https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/21194318/ReedGeek-HiRes-Logo-768x341.jpg 768w, https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/21194318/ReedGeek-HiRes-Logo.jpg 874w" style="border: 0px; float: left; font: inherit; height: auto; margin: 0px 1em 1em 0px; max-width: 100%; padding: 0px; vertical-align: baseline; width: auto;" width="352" /></p><p style="border: 0px; font: inherit; margin: 1em 0px; padding: 0px; vertical-align: baseline;"> </p><p style="border: 0px; font: inherit; margin: 1em 0px; padding: 0px; vertical-align: baseline;"> </p><p style="border: 0px; font: inherit; margin: 1em 0px; padding: 0px; vertical-align: baseline;"><img alt="" class="size-medium wp-image-96 alignright" height="45" loading="lazy" sizes="(max-width: 300px) 100vw, 300px" src="https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/30141837/Lisas-Clarinet-Shop-logo-300x45.png" srcset="https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/30141837/Lisas-Clarinet-Shop-logo-300x45.png 300w, https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/30141837/Lisas-Clarinet-Shop-logo-768x116.png 768w, https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/30141837/Lisas-Clarinet-Shop-logo.png 797w" style="border: 0px; float: right; font: inherit; height: auto; margin: 0px 0px 1em 1em; max-width: 100%; padding: 0px; vertical-align: baseline; width: auto;" width="300" /></p><p style="border: 0px; font: inherit; margin: 1em 0px; padding: 0px; vertical-align: baseline;"> </p><p style="border: 0px; font: inherit; margin: 1em 0px; padding: 0px; vertical-align: baseline;"> </p><p style="border: 0px; font: inherit; margin: 1em 0px; padding: 0px; vertical-align: baseline;"><img alt="" class="wp-image-81 aligncenter" height="87" loading="lazy" sizes="(max-width: 421px) 100vw, 421px" src="https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/05164200/logo_schwenk-und-seggelke-300x62.png" srcset="https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/05164200/logo_schwenk-und-seggelke-300x62.png 300w, https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/10/05164200/logo_schwenk-und-seggelke.png 616w" style="border: 0px; clear: both; display: block; font: inherit; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline; width: auto;" width="421" /></p><p style="border: 0px; font: inherit; margin: 1em 0px; padding: 0px; vertical-align: baseline;"><img alt="" class="size-medium wp-image-103 aligncenter" height="153" loading="lazy" sizes="(max-width: 300px) 100vw, 300px" src="https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/11/25145459/ClarinetQuest-logo-2-3-1-300x153.png" srcset="https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/11/25145459/ClarinetQuest-logo-2-3-1-300x153.png 300w, https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/11/25145459/ClarinetQuest-logo-2-3-1-1024x522.png 1024w, https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/11/25145459/ClarinetQuest-logo-2-3-1-768x392.png 768w, https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/11/25145459/ClarinetQuest-logo-2-3-1-1536x784.png 1536w, https://assets.sites.bsu.edu/wp-content/uploads/sites/34/2020/11/25145459/ClarinetQuest-logo-2-3-1-2048x1045.png 2048w" style="border: 0px; clear: both; display: block; font: inherit; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline; width: auto;" width="300" /></p></div></article></div><p class="MsoNormal" style="background-color: white; color: #222222; font-size: 12pt; margin: 0cm 0cm 0.0001pt;"><span face="Calibri, sans-serif" lang="EN-US" style="color: #1f497d; font-style: italic; font-weight: bold;"></span></p><aside class="page-sidebar widgets-area" id="sidebar" style="-webkit-box-flex: 0; background-color: white; border: 0px; flex: 0 0 300px; font-family: "Open Sans", sans-serif; font-size: 16px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; max-width: 300px; padding: 0px; vertical-align: baseline;"><section class="widget widget_submenu" style="border: 0px; font-family: inherit; font-size: 14px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: none; margin: 0px 0px 60px; padding: 0px; vertical-align: baseline;"><nav style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><h1 class="widget-title current_page_item" style="border-bottom-color: rgb(187, 190, 191); border-bottom-style: solid; border-image: initial; border-left-color: initial; border-left-style: initial; border-right-color: initial; border-right-style: initial; border-top-color: initial; border-top-style: initial; border-width: 0px 0px 1px; color: #54585a; font-family: inherit; font-size: 24px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 300; line-height: inherit; margin: 0px 0px 0.75em; padding: 0px 0px 0.25em; position: relative; vertical-align: baseline;"></h1></nav></section></aside></div>Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-74644175542629152012020-11-28T12:17:00.001-05:002020-11-28T12:17:11.167-05:00Eric Seddon Interview with Simon Wyrsch<p>He said I was his 111th interview (that makes me eleventy-first!) Great time chatting about our instrument in jazz. </p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/_EyO3yyyNGA" width="320" youtube-src-id="_EyO3yyyNGA"></iframe></div><br /><p></p>Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-28394213193645300242020-11-20T13:51:00.000-05:002020-11-20T13:51:03.436-05:00The ICCC Jazz Clarinet Competition is OPEN<p><span style="background-color: white; color: #050505; white-space: pre-wrap;"><span style="font-family: arial;">To all readers of <i>The Jazz Clarinet, </i>especially young professionals out of work due to the pandemic: I'm thrilled to announce the opening of the ICCC Jazz Clarinet Competition. This is a competition designed to give young pro jazz clarinetists a chance to show their skills and advance their careers despite this difficult set of circumstances we're in. There are some great prizes and major backers. I'm on the panel of judges, and honored to have one of my compositions presented as an option for contestants. The tune is called 'Euclid Avenue Jump' and gives players a chance to really show some technique and soul in a fast jump blues. </span></span></p><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="background-color: white; color: #050505; margin: 0.5em 0px 0px; overflow-wrap: break-word; white-space: pre-wrap;"><div dir="auto"><span style="font-family: arial;">If you know a young professional jazz clarinetist who is out of work, PLEASE encourage them to take part in this competition. </span></div><div dir="auto"><span style="font-family: arial;"><br /></span></div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="background-color: white; color: #050505; margin: 0.5em 0px 0px; overflow-wrap: break-word; white-space: pre-wrap;"><div dir="auto"><span style="font-family: arial;"><b><i>Thank you</i></b> to the organizers, the stellar panel of fellow judges, and to all you future participants. Let's pro</span><span style="font-family: arial;">mote our music, our instrument, and the finest young players out there!!</span></div><div dir="auto"><span style="font-family: arial;"><br /></span></div><div dir="auto"><span style="font-family: arial;">For further information, <a href="https://sites.bsu.edu/ICCC/Jazz/?fbclid=IwAR3owcB-K1n31PIPaGVznEHHzmYqvGMwVUOCOZEovI5KAUVbgoNPUvu7RYs">check out the competition website.</a> </span></div><div dir="auto"><span style="font-family: arial;"><br /></span></div><div dir="auto"><span style="font-family: arial;"><br /></span></div><div dir="auto"><span style="font-family: arial;"><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-tdDXcL-GHFM/X7gOV0OZ8CI/AAAAAAAAAcM/qmzOC2k0CeQANPa3UxT2h0-zBacIRVfmQCLcBGAsYHQ/image.png" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="701" data-original-width="526" src="https://lh3.googleusercontent.com/-tdDXcL-GHFM/X7gOV0OZ8CI/AAAAAAAAAcM/qmzOC2k0CeQANPa3UxT2h0-zBacIRVfmQCLcBGAsYHQ/s16000/image.png" /></a></div><br /><br /></span></div></div>Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-67399079242354359852020-05-02T20:31:00.000-04:002020-05-02T20:31:23.512-04:00JazzTimes Critics List Clarinetists in their Underrated Class<span style="background-color: white; box-sizing: inherit; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 17px; font-weight: bolder;"><br /></span>
<span style="font-family: Roboto, Helvetica, Arial, sans-serif;"><span style="background-color: white; font-size: 17px;">In a <a href="https://jazztimes.com/features/lists/whos-overrated-whos-underrated/"><i>JazzTimes </i>article originating in 1997</a>, but updated only a few weeks ago, thirteen critics were invited to sound off on which among the jazz greats were overrated and which were more underappreciated. Of note were the absence of clarinetists in the overrated category, but several clarinet greats mentioned as deserving wider acclaim. </span></span><br />
<span style="background-color: white; box-sizing: inherit; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 17px; font-weight: bolder;"><br /></span>
<span style="font-family: Roboto, Helvetica, Arial, sans-serif;"><span style="background-color: white; font-size: 17px;">Writing of the great Pete Fountain, who was still active as of the original 1997 publication, Doug Ramsey said: </span></span><br />
<span style="background-color: white; box-sizing: inherit; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 17px; font-weight: bolder;"><br /></span>
<blockquote class="tr_bq">
<span style="background-color: white;"><span style="font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 17px;"><i><b><span style="color: #3d85c6;">"He underrates himself. His ear for harmony and mastery of time are among the best-kept secrets in jazz because all these years he has chosen to stick with the repertoire and sidemen that make him comfortable. I’d like to kidnap Fountain and lock him in a recording studio with Kenny Barron, Ron Carter and Victor Lewis. He would surprise himself."</span></b></i></span></span></blockquote>
<br />
<span style="background-color: white; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 17px;">Then came Neil Tesser, writing of Buddy DeFranco:</span><br />
<span style="background-color: white; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 17px;"><br /></span>
<blockquote class="tr_bq">
<span style="background-color: white; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 17px;"><span style="color: #3d85c6;"><b><i>"Probably because he came along just as the clarinet was fading as a jazz staple, DeFranco gets overlooked when the discussion turns to either (a) his instrument or (b) his metier, bebop—an idiom not known for producing great clarinet players. But he just might be the finest improvising clarinetist in jazz history, blessed with great harmonic knowledge, technical wizardry, and a meaty and expressive tone."</i></b></span></span></blockquote>
<span style="background-color: white; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 17px;"> Jack Sohmer added praise of Albert Nicholas...</span><br />
<blockquote class="tr_bq" style="box-sizing: inherit; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 17px; margin-bottom: 24px; padding: 0px;">
<span style="background-color: white;"><span style="color: #3d85c6;"><b><i><br /></i></b></span></span><span style="background-color: white;"><span style="color: #3d85c6;"><b><i>"A paragon of the Creole style of clarinet playing, Nicholas worked and recorded with King Oliver, Jelly Roll Morton and Luis Russell from the mid-1920s through the ’30s. His crystalline tone, impeccable technique, and command of the blues finally came to widespread attention during the New Orleans revival movement of the mid-’40s. Had he not spent his last 20 years in Europe, where he was almost as famous as Sidney Bechet, he would undoubtedly have been better known in America."</i></b></span></span></blockquote>
<br />
<span style="background-color: white; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 17px;">...and Pee Wee Russell:</span><br />
<br />
<blockquote class="tr_bq">
<span style="background-color: white;"><span style="color: #3d85c6;"><i><b><span style="font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 17px;">"A genius to those who value originality, Russell had always been a controversial clarinetist. He was uniformly respected by Louis, Bix, Teagarden, Freeman and the Condon gang, but he was also derided by others who failed to understand his obstinate nonconformity. His highly personal sound, replete with growling rasps and wistful mutterings, coupled with his advanced harmonic sense and angular phrasing, combined to form a style unique in jazz history."</span> </b></i></span></span></blockquote>
<span style="background-color: white; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 17px;"><br /></span>
<span style="background-color: white; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 17px;">It's great to see these great clarinetists get some attention. Let's hope the reevaluation of jazz history continues in this century, giving more weight to the practitioners of this great jazz instrument!</span><br />
<span style="background-color: white; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 17px;"><br /></span>
<br />
<br />
<div class="medianet-desktop-outer-box" id="the-videoplayer" style="background-color: #f9f9fb; box-sizing: inherit; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 17px;">
<div class="medianet-desktop-inner-box" style="box-sizing: inherit;">
<div aria-label="Video Player" class="jwplayer jw-reset jw-state-idle jw-skin-bekle jw-stretch-uniform jw-flag-aspect-mode jw-breakpoint-5 jw-flag-user-inactive" id="player" style="-webkit-tap-highlight-color: rgba(255, 255, 255, 0); background-color: black; border: 0px; box-sizing: border-box; color: inherit; direction: ltr; float: none; font-family: Arial, Helvetica, sans-serif; font-size: 16px; font-stretch: inherit; font-variant: inherit; height: auto !important; line-height: 1em; list-style: none; margin: 0px; min-height: 0px; overflow: hidden; padding: 0px; position: relative; user-select: none; vertical-align: baseline; width: 822px;" tabindex="0">
<div class="jw-media jw-reset" style="-webkit-tap-highlight-color: rgba(255, 255, 255, 0); background-color: transparent; border: 0px; bottom: 0px; box-sizing: inherit; color: inherit; cursor: pointer; direction: ltr; float: none; font-size: 1em; font-stretch: inherit; font-variant: inherit; height: 462.375px; left: 0px; line-height: 1em; list-style: none; margin: 0px; overflow: hidden; padding: 0px; pointer-events: all; position: absolute; right: 0px; top: 0px; vertical-align: baseline; width: 822px;">
</div>
<div class="jw-preview jw-reset" style="-webkit-tap-highlight-color: rgba(255, 255, 255, 0); background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 50% 50%; background-repeat: no-repeat; background-size: contain; border: 0px; bottom: 0px; box-sizing: inherit; color: inherit; direction: ltr; float: none; font-size: 1em; font-stretch: inherit; font-variant: inherit; height: 462.375px; left: 0px; line-height: 1em; list-style: none; margin: 0px; opacity: 1; padding: 0px; pointer-events: none; position: absolute; right: 0px; top: 0px; vertical-align: baseline; visibility: visible; width: 822px;">
</div>
<div class="jw-overlays jw-reset" style="-webkit-tap-highlight-color: rgba(255, 255, 255, 0); background-color: transparent; border: 0px; bottom: 0px; box-sizing: inherit; color: inherit; cursor: auto; direction: ltr; float: none; font-size: 1em; font-stretch: inherit; font-variant: inherit; height: 462.375px; left: 0px; line-height: 1em; list-style: none; margin: 0px; padding: 0px; pointer-events: none; position: absolute; right: 0px; top: 0px; vertical-align: baseline; width: 822px;">
<div class="jw-plugin jw-reset" id="player_googima" style="-webkit-tap-highlight-color: rgba(255, 255, 255, 0); background-color: transparent; border: 0px; bottom: 2.5em; box-sizing: inherit; color: inherit; direction: ltr; float: none; font-size: 1em; font-stretch: inherit; font-variant: inherit; height: 462.375px; line-height: 1em; list-style: none; margin: 0px; opacity: 0; overflow: hidden; padding: 0px; pointer-events: none; position: absolute; vertical-align: baseline; visibility: hidden; width: 822px;">
<div id="player_ad" style="box-sizing: inherit; height: 462.375px; position: absolute; width: 822px;">
<div style="box-sizing: inherit; position: absolute;">
<iframe allow="autoplay" allowfullscreen="" src="https://imasdk.googleapis.com/js/core/bridge3.383.0_en.html#goog_1029276988" style="border-style: initial; border-width: 0px; box-sizing: inherit; margin: 0px; opacity: 0; padding: 0px; position: relative;"></iframe></div>
</div>
</div>
<div class="jw-plugin jw-reset" id="player_jwpsrv" style="-webkit-tap-highlight-color: rgba(255, 255, 255, 0); background-color: transparent; border: 0px; bottom: 2.5em; box-sizing: inherit; color: inherit; direction: ltr; float: none; font-size: 1em; font-stretch: inherit; font-variant: inherit; line-height: 1em; list-style: none; margin: 0px; padding: 0px; pointer-events: all; position: absolute; vertical-align: baseline;">
</div>
<div class="jw-plugin jw-reset" id="player_gapro" style="-webkit-tap-highlight-color: rgba(255, 255, 255, 0); background-color: transparent; border: 0px; bottom: 2.5em; box-sizing: inherit; color: inherit; direction: ltr; float: none; font-size: 1em; font-stretch: inherit; font-variant: inherit; line-height: 1em; list-style: none; margin: 0px; padding: 0px; pointer-events: all; position: absolute; vertical-align: baseline;">
</div>
<div class="jw-plugin jw-reset jw-plugin-related" id="player_related" style="-webkit-tap-highlight-color: rgba(255, 255, 255, 0); background-color: transparent; border: 0px; bottom: 2.5em; box-sizing: inherit; color: inherit; direction: ltr; float: none; font-size: 1em; font-stretch: inherit; font-variant: inherit; line-height: 1em; list-style: none; margin: 0px; opacity: 0; padding: 0px; pointer-events: all; position: absolute; vertical-align: baseline; visibility: hidden;">
</div>
</div>
<div class="afs_ads" style="background: transparent; box-sizing: inherit; height: 1px; position: absolute; width: 1px;">
</div>
<div class="jw-controls jw-reset" style="-webkit-tap-highlight-color: rgba(255, 255, 255, 0); background-color: transparent; border: 0px; bottom: 0px; box-sizing: inherit; color: inherit; direction: ltr; float: none; font-size: 1em; font-stretch: inherit; font-variant: inherit; height: 462.375px; left: 0px; line-height: 1em; list-style: none; margin: 0px; overflow: hidden; padding: 0px; pointer-events: none; position: absolute; right: 0px; top: 0px; vertical-align: baseline; width: 822px;">
<div class="jw-display jw-reset" style="-webkit-tap-highlight-color: rgba(255, 255, 255, 0); background-color: transparent; border: 0px; box-sizing: inherit; color: inherit; direction: ltr; display: table; float: none; font-size: 1em; font-stretch: inherit; font-variant: inherit; height: 462px; line-height: 1em; list-style: none; margin: 0px; padding: 0px; position: relative; transition: opacity 0.3s ease 0s, visibility 0.3s ease 0s; vertical-align: baseline; width: 822px;">
<div class="jw-display-container jw-reset" style="-webkit-tap-highlight-color: rgba(255, 255, 255, 0); background-color: transparent; border: 0px; box-sizing: inherit; color: inherit; direction: ltr; display: table-cell; float: none; font-size: 1em; font-stretch: inherit; font-variant: inherit; height: 462px; line-height: 1em; list-style: none; margin: 0px; padding: 0px; text-align: center; vertical-align: middle;">
<div class="jw-display-controls jw-reset" style="-webkit-tap-highlight-color: rgba(255, 255, 255, 0); background-color: transparent; border: 0px; box-sizing: inherit; color: inherit; direction: ltr; display: inline-block; float: none; font-size: 1em; font-stretch: inherit; font-variant: inherit; line-height: 1em; list-style: none; margin: 0px; padding: 0px; text-align: left; vertical-align: baseline;">
<div class="jw-display-icon-container jw-display-icon-display jw-background-color jw-reset" style="-webkit-tap-highlight-color: rgba(255, 255, 255, 0); background: rgba(24, 35, 53, 0.8); border-radius: 0.3em; border: 0px; box-sizing: content-box; color: inherit; cursor: pointer; direction: ltr; display: inline-block; float: left; font-size: 1em; font-stretch: inherit; font-variant: inherit; height: auto; line-height: 1em; list-style: none; margin: 0px 0.25em; padding: 0px; pointer-events: none; transition: background-color 0.3s ease 0s, opacity 0.3s ease 0s, visibility 0.3s ease 0s; vertical-align: baseline; width: auto;">
<div aria-label="Start playback" class="jw-icon jw-icon-display jw-button-color jw-reset" role="button" style="-webkit-font-smoothing: antialiased; -webkit-tap-highlight-color: rgba(255, 255, 255, 0); background-color: transparent; border: 0px; box-sizing: inherit; color: white; cursor: pointer; direction: ltr; fill: rgb(255, 255, 255); float: none; font-family: jw-icons; font-size: 1em; font-stretch: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; height: 88px; line-height: 88px; list-style: none; margin: 0px; padding: 0px; pointer-events: none; text-align: center; transition: color 0.3s ease 0s, fill 0.3s ease 0s; vertical-align: baseline; width: 88px;" tabindex="0">
<br /></div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-79362646690351335872020-04-04T13:01:00.001-04:002020-04-04T13:01:27.441-04:00Bill Smith * Concerto for Clarinet and Combo * Shelly Manne & His Men Vol 6 * Contemporary Records * 1957The amount of great music for clarinet by the late Bill Smith seems pretty immense, if hidden all over the internet. I just stumbled across this Concerto for Clarinet & Combo this morning. It features some really exciting and beautiful music, well worth listening to and performing.<br />
<br />
Enjoy!<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/Lom-mmHXPIE/0.jpg" src="https://www.youtube.com/embed/Lom-mmHXPIE?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
<br />Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-81541107919169708382020-04-01T14:41:00.003-04:002020-04-01T20:40:48.204-04:00Bill Smith * Near-Myth/Brubeck-Smith * Fantasy Records * OJC-236 (F-3319) * March 20, 1961<div class="separator" style="clear: both; text-align: left;">
<span style="background-color: white;"><span style="color: #0b5394; font-family: inherit;"><b><u>Side A</u></b></span></span></div>
<div class="separator" style="clear: both; text-align: left;">
<span style="background-color: white;"><i><span style="color: #0b5394; font-family: inherit;"><b><br /></b></span></i></span></div>
<div class="separator" style="clear: both; text-align: left;">
<span style="background-color: white;"><i><span style="color: #0b5394; font-family: inherit;"><b>1. The Unihorn<br />2. Bach An' All<br />3. Siren Song<br />4. Pan's Pipes<br />5. By Jupiter</b></span></i></span></div>
<div class="separator" style="clear: both; text-align: left;">
<span style="background-color: white;"><i><span style="color: #0b5394; font-family: inherit;"><b><br /></b></span></i></span></div>
<div class="separator" style="clear: both; text-align: left;">
<span style="background-color: white;"><span style="color: #0b5394; font-family: inherit;"><b><u>Side B</u></b></span></span></div>
<div class="separator" style="clear: both; text-align: left;">
<span style="background-color: white;"><i><span style="color: #0b5394; font-family: inherit;"><b><br />1. Baggin' The Dragon<br />2. Apollo's Axe<br />3. The Sailor And The Mermaid<br />4. Nep-Tune<br />5. Pan Dance</b></span></i></span></div>
<div class="separator" style="clear: both; text-align: left;">
<span style="background-color: white;"><i><span style="color: #0b5394; font-family: inherit;"><b><br /></b></span></i></span></div>
<div class="separator" style="clear: both; text-align: left;">
<span style="color: #0b5394;"><span style="background-color: white;"><b>Bill Smith - clarinet</b></span></span></div>
<div class="separator" style="clear: both; text-align: left;">
<span style="color: #0b5394;"><span style="background-color: white;"><b>Dave Brubeck - piano</b></span></span></div>
<div class="separator" style="clear: both; text-align: left;">
<span style="color: #0b5394;"><span style="background-color: white;"><b>Gene Wright - bass</b></span></span></div>
<div class="separator" style="clear: both; text-align: left;">
<span style="color: #0b5394;"><span style="background-color: white;"><b>Joe Morello - drums</b></span></span></div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
I've been avoiding a review of this masterpiece for years. In the early days of this blog, a hastily written summary of mine appeared, taken down almost immediately, as the quick write up really didn't do the album justice. In light of the passing of Bill Smith this past February 29th, however, it's time I made some attempt to describe what is one of the great treasures of jazz clarinet history. </div>
<br />
On March 20, 1961, Bill Smith went into the studio to record his third album with Dave Brubeck. It was unprecedented in that all three discs featured set lists entirely composed by Smith--not a single Brubeck original or standard among them. <i>Near-Myth </i>can be seen as a culmination of his collaborations with Brubeck. Like <i><a href="https://thejazzclarinet.blogspot.com/2013/05/bill-smith-with-dave-brubeck-quartet.html">The Riddle</a>, </i>Smith utilizes the technique of thematic transformation, reiterating the opening motif from 'The Unihorn' in different settings and guises throughout. Unlike the earlier album, however, this isn't one piece--the thematic usage therefore lends coherence to ten nearly perfect jazz clarinet tunes, united in a song cycle, with a quartet performance for the ages (with Brubeck's piano joined by Gene Wright on bass and Joe Morello on drums).<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-cxq5_sbQuto/XoTSrlcFTrI/AAAAAAAAAP8/EyfQ6rwyMtoyohtC8sXyKBu9j83hRIKeACLcBGAsYHQ/s1600/Near%2BMyth%2BCover.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://1.bp.blogspot.com/-cxq5_sbQuto/XoTSrlcFTrI/AAAAAAAAAP8/EyfQ6rwyMtoyohtC8sXyKBu9j83hRIKeACLcBGAsYHQ/s400/Near%2BMyth%2BCover.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Near-Myth/Brubeck Smith LP<br />
Eric Seddon Collection</td></tr>
</tbody></table>
<br />
Buddy DeFranco once said somewhere that he considered Artie Shaw's famous 'Stardust' solo to be the greatest jazz solo ever played. I'm not sure he fully believed that; perhaps he just wanted to emphasize the beauty and power of that chorus, and the effect it had on him. I've always been glad he said it though--it gives us all permission to gush a bit. In a similar way, I find it hard to be objective about Bill Smith's opening solo on 'The Unihorn.' To me it seems the greatest modern jazz solo ever taken on a clarinet. Within a couple of choruses, he's unraveled musical ideas filled with such beauty, intelligence, meaning, and so idiomatic to the clarinet that they wouldn't have the same power on any other instrument. His playing is modern with such a strong and original musical identity that it's not beholden to other modern jazz influences--and that is rare for clarinetists.<br />
<div>
<br />
<div>
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/F_t30Fs-JAA/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/F_t30Fs-JAA?feature=player_embedded" width="320"></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
By the end of the solo, Smith has casually and lyrically carried the line to the 'top' of the natural range of the clarinet (the same double high C that Artie Shaw ended his Concerto on so dramatically). Smith smashes this ceiling, however, on the very last note of 'Pan's Pipes', where he uses a mute to achieve an E four notes above it. This is one of the most breathtaking moments on the album--he hits the note softly and clearly, and sings it like the harmonic on a violin. </div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
Smith generally takes a joking and whimsical tone with his half of the album's liner notes, but he also points out some important aspects of the music, mentioning the use of multiphonics in 'Siren Song', piano harmonics employed in 'Apollo's Axe', and timpani sticks used on the strings of the piano for 'Baggin' the Dragon' (the miniature masterpiece that opens the original B side of the album). He continues:</div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<blockquote class="tr_bq" style="clear: both; text-align: left;">
<span style="color: #0b5394;"><b>"To add to the musical unity of the album, the opening 4-note figure is utilized in several of the numbers. There are further interrelationships, such as the use of the <i>Siren Song</i> at the conclusion of the <i>Sailor and the Mermaid</i>, the anticipation of the opening three notes of the <i>Siren Song</i> in the ending of <i>Bach an' All</i>, and the derivation of the three measure dum pattern on <i>Bach an' All </i>from the closing piano, clarinet, and bass of <i>Unihorn</i>." </b></span></blockquote>
<br />
<div>
Each tune tells a story, each is filled with meaningful playing from the members of the quartet. I personally think this album features some of Brubeck's most inspired playing. Bill Smith was more of a musical alpha-dog than Paul Desmond, so the dynamic was different in the quartet. Where Desmond might be called the perfectly cool compliment to Brubeck's fire, Smith tends to actively lead, drive, and push the music, which creates exciting results. Dave's solo's on 'The Unihorn' and 'Baggin' the Dragon' stand out as some of his finest on record, and Joe Morello responds intensely at times to Smith's lead. </div>
<div>
<br /></div>
<div>
Dave Brubeck's liner notes emphasize the pure acoustic aspect of the recording. "Nothing in the album was electronically "gimmicked" for special effect. What was performed in the studio was produced by extending the natural capacities of the instruments." </div>
<div>
<br /></div>
<div>
He concludes with a quote from Smith...</div>
<blockquote class="tr_bq">
<span style="color: #0b5394;"><b>"Jazz forms are usually stereotyped, like a housing project with houses all alike. We want to change the number of rooms and the size and placement of the windows and doors."<br /> </b></span></blockquote>
<div>
...and an assessment:</div>
<div>
<br /></div>
<blockquote class="tr_bq">
<span style="color: #0b5394;"><b>I think on this album Bill Smith opens some new swinging doors. </b></span></blockquote>
<div>
<br /></div>
<div>
I wish there were ten more albums like this, but must be satisfied that <i>Near-Myth</i> exists at all. I've always thought the cartoon cover art by Arnold Roth was a weakness, as there is nothing cartoonish or goofy about the music...but after all these years, I've made peace with the concept. Smith's own titles and descriptions are offhand, tongue-in-cheek, evasive at times. The album cover simply allows it to fly under the radar, perhaps so it won't be recognized as consciously great art. But great art it is, and deserving of much wider recognition and study in jazz history.<br />
<br />
For me, <i>Near-Myth/Brubeck-Smith</i> one of a handful of the finest records ever made by a jazz clarinetist. There are few that even come close.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-HKVx1ubSyyA/XoTbnQhj6-I/AAAAAAAAAQY/e31RUOk0s806fS3h3IGpEE1XIAnnAqJUACLcBGAsYHQ/s1600/Near%2BMyth%2BBack.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://1.bp.blogspot.com/-HKVx1ubSyyA/XoTbnQhj6-I/AAAAAAAAAQY/e31RUOk0s806fS3h3IGpEE1XIAnnAqJUACLcBGAsYHQ/s400/Near%2BMyth%2BBack.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Near-Myth back cover<br />
Eric Seddon collection</td></tr>
</tbody></table>
<br />
[ Footnote: <i>Near-Myth/Brubeck-Smith </i>was recorded only four days after <a href="https://thejazzclarinet.blogspot.com/2018/07/cd-review-pete-fountain-live-in-santa.html">Pete Fountain's brilliant Santa Monica concert</a>. What a week in jazz clarinet history that was! ]<br />
<br /></div>
</div>
Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-87165639120726740732020-03-25T14:13:00.001-04:002020-03-25T16:18:22.074-04:00Bill Smith, William O. Smith, Br. Roy Parker, and Me (R.I.P William O. 'Bill' Smith)<br />
I learned just yesterday, via the <a href="https://www.nytimes.com/2020/03/21/arts/music/bill-smith-dead.html">NY Times obituary</a>, that one of the greatest of all clarinetists, William O. Smith (better know to jazz audiences as Bill Smith) passed away last February 29th. He was 93 years old, and lived a life wherein he contributed not only some of the finest jazz of the past century, but expanded our understanding of the clarinet, continuously, for decades. The obituaries will detail his remarkable and unique career - the talented composer who won the <i>Prix de Paris</i>, the <i>Prix de Rome, </i>and who studied with Darius Milhaud and Roger Sessions - the modern jazz master who recorded three albums of his own music with Dave Brubeck at the height of his popularity, but who preferred an academic career to a life of touring and recording. I'm sure there is much more to tell of those facets of his life and work, but his music effected me so deeply, I can't help but share one little story, of how I first heard Smith's music.<br />
<br />
I was a teenager in the 1980s, immersed in clarinet playing and specifically jazz, when I happened to meet a monk from Holy Cross Monastery in West Park, NY. My brother and I used to spend time volunteering there--we'd clean the guesthouse before retreats. One of the monks was named Br Roy Parker, and though a soft spoken man, known for the masterful calligraphy he drew, he was in fact a huge fan of jazz, and while working in his shop would often listen to Benny Goodman, Dave Brubeck, and the like. He soon learned of my love of Goodman, Shaw, and others, and we'd talk jazz regularly. One Sunday afternoon when I was there to clean, Br. Roy announced that he was switching over his whole collection of cassette tapes to the newly introduced CD format -- and he gave me first pick of anything in his shop that I wanted. I don't remember all the tapes I took home that day -- but I remember the most important: <i>Near-Myth/Brubeck-Smith. </i><br />
<br />
I had never heard of Bill Smith before, but that album opened new vistas for me as a clarinetist. In contrast to other modern jazz clarinetists, he seemed to come at modern jazz from a the point of view of a clarinetist, rather than through the saxophone. To put it another way, while it was clear he had listened to Charlie Parker, and gained language through that listening, it never seemed he was translating Bird to clarinet. To listen to Smith was to hear a musical personality of such depth, any influences were subservient to his own musical thought. For me personally, his art remains the most fascinating and satisfying of modern jazz clarinet.<br />
<br />
His solo from 'The Unihorn' on Near-Myth was the first I ever sat down and transcribed by hand. Years later, I purchased the LP version simply to read the liner notes - it now hangs on my studio wall.<br />
<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-XvTF4J-bFtc/XnuXK_NoZPI/AAAAAAAAAOg/rqRmYrIKpAI_Ga0fMyWFzNUuTODNeMAtwCLcBGAsYHQ/s1600/Near%2BMyth%2BBill%2BSmith.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://1.bp.blogspot.com/-XvTF4J-bFtc/XnuXK_NoZPI/AAAAAAAAAOg/rqRmYrIKpAI_Ga0fMyWFzNUuTODNeMAtwCLcBGAsYHQ/s400/Near%2BMyth%2BBill%2BSmith.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Near-Myth on my Studio Wall</td></tr>
</tbody></table>
<br />
A few years later, as an undergraduate clarinet major at the Hartt School of Music, I was given an assignment by the late Dr. David Macbride: to find a recording of a clarinetist using 'extended techniques' and play it for his 20th century music theory class. While rifling through the stacks of the Hartt Music Library, I stumbled across my first exposure to William O. Smith: Bill's classical side. Here I found him performing his own Concerto for Jazz Soloist and Orchestra, and a cavalcade of extended techniques in his brilliant Variants for clarinet solo. I've published <a href="https://thejazzclarinet.blogspot.com/2017/02/two-sides-of-william-o-bill-smith-cri.html">a review of this album here</a>.<br />
<div>
<br /></div>
<div>
<br />
<div>
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-dNf0OiyOpWw/XnuaJVP0i3I/AAAAAAAAAO8/_GOtVz6sSgs5Mz3WIWihduQWTRxsWK0mwCLcBGAsYHQ/s1600/Bill%2BSmith%2BConcerto.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://1.bp.blogspot.com/-dNf0OiyOpWw/XnuaJVP0i3I/AAAAAAAAAO8/_GOtVz6sSgs5Mz3WIWihduQWTRxsWK0mwCLcBGAsYHQ/s400/Bill%2BSmith%2BConcerto.jpg" width="300" /></a></div>
<div>
<br />
<br />
I've made several attempts to get in contact with Bill Smith over the years, but unfortunately failed each time. I'd hoped to get copies of his lead sheets and other works that might not be readily available in print and tried in vain to get a hold of his published jazz clarinet method. If any of you readers know how to procure these things, please don't hesitate to contact me -- I'd appreciate it.<br />
<div>
<br /></div>
<div>
Though very little of his work is reviewed on this blog (his recording of <a href="https://thejazzclarinet.blogspot.com/2013/05/bill-smith-with-dave-brubeck-quartet.html">The Riddle</a> with Dave Brubeck might be my only other) it's more because of my admiration, and hopes to do his music justice, that I have refrained. I'll try to rectify that in the coming weeks and months. </div>
<div>
<br /></div>
<div>
But those review's are for another day...today, there's just one more thing...</div>
<div>
<br /></div>
<div>
The day Bill Smith died, I'd actually been messaging a friend about his music, how much it continued to inspire me. And when I learned just yesterday of Smith's death, I tried to find contact information for my old friend, Br. Roy Parker, who I hadn't spoken to in over thirty years. I wanted to let him know about Smith's passing if he hadn't already heard, and to thank him for introducing this music to me. But it turns out Br. Roy passed away just nine days before Bill Smith. Br. Roy was a great artist in his own right, and appreciated all the technical nuances jazz musicians navigated - he would ask me all about those things with great interest. He was a great listener, and learned from what he heard. I hope and pray that he and William O are swapping notes in heaven right now. </div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img height="320" src="https://scontent.xx.fbcdn.net/v/t1.0-9/87448535_1465201710327302_5306286000895426560_n.png?_nc_cat=107&_nc_sid=8024bb&_nc_ohc=mZ7KrO-qDksAX8DJDfT&_nc_ht=scontent.xx&oh=912647cac6d511ebba4505e7cb8d026e&oe=5EF1F4E3" style="margin-left: auto; margin-right: auto;" width="320" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Br. Roy Parker, OHC</td></tr>
</tbody></table>
<div style="text-align: center;">
</div>
The greatest music is so powerful that it impresses itself right onto one's life story. Br. Roy's kindness and Bill Smith's celebratory brilliance will forever be connected in my mind. May they both rest in eternal peace.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-k4ujtEodUt4/XnudGjeflnI/AAAAAAAAAPY/M8cLpNWrFGIDSrPiLNzuBBsVbllPCKc3wCLcBGAsYHQ/s1600/Bill%2BSmith%2BWall.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://1.bp.blogspot.com/-k4ujtEodUt4/XnudGjeflnI/AAAAAAAAAPY/M8cLpNWrFGIDSrPiLNzuBBsVbllPCKc3wCLcBGAsYHQ/s400/Bill%2BSmith%2BWall.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wall of Inspiration in my Studio</td></tr>
</tbody></table>
<br />
<br />
<br />
<br /></div>
</div>
</div>
Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-82379193130554300612020-03-17T10:42:00.002-04:002020-03-17T10:42:40.466-04:00100 Jazz Tunes Everyone Should Hear (#34) - Miles Davis - Prayer (Oh Doctor Jesus)<b>#34 - Miles Davis - Prayer (Oh Doctor Jesus)</b><br />
<b><br /></b>
I'm a huge fan of Gershwin's opera <i>Porgy & Bess</i> -- such a huge fan that I generally don't even like tunes being excerpted by jazz musicians (there are exceptions, like Sidney Bechet's or Pete Fountain's renditions of "Summertime", but I'm<i> really</i> picky). The biggest exception for me is the album that Miles Davis recorded in 1958, featuring his ground breaking trumpet interpretations over Gil Evans's arrangements. The record is like a modern jazz opera in itself, equally satisfying as the original (at least to me). As a wind player, considering what Miles does on his horn, it's also endlessly inspiring.<br /><br />This musical prayer to the Physician of Souls is a high point for me, though the whole album is worth countless listenings. Stay safe everyone, and God Bless you.<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/4e7ftQBv6R8/0.jpg" src="https://www.youtube.com/embed/4e7ftQBv6R8?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="background-color: white; clear: both; color: #666666; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 13.2px; text-align: center;">
<span style="font-family: "trebuchet ms", trebuchet, verdana, sans-serif; font-size: 13.2px; text-align: start;">[ <i>This is not a comprehensive list, nor is it representative of the "most important" or "best." Instead, following Duke Ellington's adage that the greatest music and musicians are "beyond category", I'm starting 2020 by sharing 100 jazz tunes I feel </i></span><i style="font-family: "trebuchet ms", trebuchet, verdana, sans-serif; font-size: 13.2px; text-align: start;">everyone should have the chance to hear--really just tunes and performances that I love.</i><span style="font-family: "trebuchet ms", trebuchet, verdana, sans-serif; font-size: 13.2px; text-align: start;"> ]</span></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-26636190548249469852020-03-17T10:16:00.000-04:002020-03-17T10:16:15.011-04:00100 Jazz Tunes Everyone Should Hear (#33) - Jelly Roll Morton's Red Hot Peppers - Dr. Jazz <b>#33 - </b>Jelly Roll Morton's Red Hot Peppers - Hello Central, Give Me Dr. Jazz<br />
<br />
To everyone out there who reads <i>The Jazz Clarinet </i>-- I'm praying for all of you, every day during this COVID-19 pandemic. We're all in this together: stay safe, love each other, and listen to some great music when you can. Heres's some Jelly Roll Morton for medicinal purposes.<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/HTYAaX7lqjQ/0.jpg" src="https://www.youtube.com/embed/HTYAaX7lqjQ?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="color: #666666; font-family: "trebuchet ms", trebuchet, verdana, sans-serif; font-size: 13.2px; text-align: start;">[ <i>This is not a comprehensive list, nor is it representative of the "most important" or "best." Instead, following Duke Ellington's adage that the greatest music and musicians are "beyond category", I'm starting 2020 by sharing 100 jazz tunes I feel </i></span><i style="color: #666666; font-family: "trebuchet ms", trebuchet, verdana, sans-serif; font-size: 13.2px; text-align: start;">everyone should have the chance to hear--really just tunes and performances that I love.</i><span style="color: #666666; font-family: "trebuchet ms", trebuchet, verdana, sans-serif; font-size: 13.2px; text-align: start;"> ]</span></div>
Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-56619680697652688002020-03-07T16:05:00.001-05:002020-03-07T16:05:21.723-05:00Clarinet Gear Review: Reginald Kell's 1956 Boosey & Hawkes Series 2000 Bb Clarinet<div class="separator" style="clear: both; text-align: left;">
Today I had the unique opportunity to play through many clarinets in the Arthur Benade Collection. Benade was a physicist whose work focused on the acoustics of wind instruments, and who taught at Cleveland's Case Western university from 1952 until his death in 1987. Not only did he study the acoustics of the clarinet in depth, he redesigned them himself, with some truly remarkable results. This morning, his son Martin was kind enough to allow jazz historian and clarinetist John Richmond and me access to the private collection, which is likely to be sold or archived in the near future. Contained in the collection are many rare clarinets--some which seemed to my eye dating from the 18th Century, along with an original Albert clarinet, many large bore Selmers, and Benade's own modified models, among others.</div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
I'll dedicate a future post to a remarkable set of Benade clarinets, modified in 1968 and 1970 according to his acoustic theories, but today's post will feature something I never even dreamt of playing: one of Reginald Kell's clarinets. </div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
The instrument in question is a 1956 Boosey & Hawkes Series 2000 Bb clarinet. </div>
<div class="separator" style="clear: both; text-align: left;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-Q86e_l0VhCE/XmP_6C-8WeI/AAAAAAAAANM/Nu67B8Nxz3QSwZm155PI4eGmGSIZA3BkACLcBGAsYHQ/s1600/Reginald%2BKell%2527s%2BCase.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://1.bp.blogspot.com/-Q86e_l0VhCE/XmP_6C-8WeI/AAAAAAAAANM/Nu67B8Nxz3QSwZm155PI4eGmGSIZA3BkACLcBGAsYHQ/s400/Reginald%2BKell%2527s%2BCase.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of the Boosey & Hawkes Case from the Benade Collection</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
The logos of the horn were well-worn, indicating the instrument had been played frequently. I guess we can hope this wear was from Kell himself. Given the date of the instrument's manufacture, it's at least possible this was the clarinet played on Kell's Decca recordings of 1957, which include the <i>Six Studies in English Folk Songs</i> by Ralph Vaughan Williams, among others. We'll probably never know anything that detailed, but let's just say it's within the realm of historical possibility. </div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-UDfnDJCKBPo/XmQABjmYoZI/AAAAAAAAANQ/InJYd8czQ747ZtF5QofF8pgxF2tl1Y0xwCLcBGAsYHQ/s1600/Reginald%2BKell%2527s%2BClarinet%2Bin%2BCase.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1443" height="400" src="https://1.bp.blogspot.com/-UDfnDJCKBPo/XmQABjmYoZI/AAAAAAAAANQ/InJYd8czQ747ZtF5QofF8pgxF2tl1Y0xwCLcBGAsYHQ/s400/Reginald%2BKell%2527s%2BClarinet%2Bin%2BCase.jpg" width="360" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Reginald Kell's Boosey & Hawkes Series 2000 Bb Clarinet:<br />The Benade Collection</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
Though it has been in a case, unplayed, for over thirty years, the pads and springs are in remarkable condition. It will need an overhaul if anyone wants to play it seriously, but even so, it's in good enough playing condition to play effectively even now. </div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-bnnoFOLExiw/XmQALOZRUuI/AAAAAAAAANY/EJdNP-nu1kgbqAT8kwaKfoVUqFdPz-l1ACLcBGAsYHQ/s1600/Reginald%2BKell%2527s%2BB%2526H%2Bclarinet.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://1.bp.blogspot.com/-bnnoFOLExiw/XmQALOZRUuI/AAAAAAAAANY/EJdNP-nu1kgbqAT8kwaKfoVUqFdPz-l1ACLcBGAsYHQ/s400/Reginald%2BKell%2527s%2BB%2526H%2Bclarinet.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Reginald Kell's Boosey & Hawkes Series 2000 Bb Clarinet:<br />The Benade Collection</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
The review for and assessment of this clarinet is very simple: <i>it's gorgeous</i>. This Boosey & Hawkes Series 2000 possesses a big, rich, yet nimble tone, particularly in the clarion register. Perhaps the greatest surprise is the plaintive depth it yields in the upper clarion -- it's the type of sound one can't easily get on a Parisian or German horn, but which we hear throughout Kell's recordings. The chalumeau is reedy and substantial, and the altissimo full and easy. The player is capable of getting a rare combination of richness and diversity of color and power. I can't tell you how special it was to play this instrument. </div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-tRTE0B9Usq4/XmQATM334wI/AAAAAAAAANg/WDLyr2v4cv8zRFZyClmYUWrvD6qYgzVkgCLcBGAsYHQ/s1600/Reginald%2BKell%2527s%2BBell.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://1.bp.blogspot.com/-tRTE0B9Usq4/XmQATM334wI/AAAAAAAAANg/WDLyr2v4cv8zRFZyClmYUWrvD6qYgzVkgCLcBGAsYHQ/s400/Reginald%2BKell%2527s%2BBell.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of the Bell from Reginald Kell's Boosey & Hawkes <br />Series 2000 Bb Clarinet: The Benade Collection</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
I'm not sure what Martin Benade will ultimately decide to do with this instrument -- whether he will sell it or donate it to a museum or archive. I'm grateful to have had the chance to play it, though, and hope that it will ultimately go to a player who has both the skill as a clarinetist to get great music from it, and an appreciation of its history.<br />
<br />
<br />
<br />
<br />Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-64815592099130416732020-02-25T08:33:00.000-05:002020-02-25T08:33:17.201-05:00Mardi Gras and the Burning River Jazz Band!<div style="background-color: white; color: #1c1e21; font-family: Helvetica, Arial, sans-serif; font-size: 14px; margin-bottom: 6px;">
Mardi Gras is here! Today my Burning River Jazz Band will be playing the Fatima Family Center between 1 and 2pm, sponsored by <a class="profileLink" data-hovercard-prefer-more-content-show="1" data-hovercard="/ajax/hovercard/page.php?id=1498103513669162&extragetparams=%7B%22__tn__%22%3A%22%2CdK-R-R%22%2C%22eid%22%3A%22ARDPEsBec6aJ9WnAg2UUHa8tJo-gO4dBaxZrRWILwRR44RGSX0_vIpoe-cdIuFD6ASKNxhMXpGDLQSRC%22%2C%22fref%22%3A%22mentions%22%7D" href="https://www.facebook.com/RootsOfAmericanMusicCLE/?__tn__=K-R&eid=ARDPEsBec6aJ9WnAg2UUHa8tJo-gO4dBaxZrRWILwRR44RGSX0_vIpoe-cdIuFD6ASKNxhMXpGDLQSRC&fref=mentions&__xts__%5B0%5D=68.ARCj93r5Gx4imyHWCD4KJL3_hzESjDpZC8ZCDu_lD6ypIg0AeXj9zVpiDoCEOJcgpxsr71vwo_JAIXMMi7oyVo1DWGX4oy4TL3ZRS8pOjE-Zk4Z9i0yb3KePmq6u3rHAhgTGLWbZNJueIu8twP3bU311zZSUo3hjNuzGTV9JlhCNLTl23I6utt5SiYos9fty9r1Bb_QIzjdcWRXc" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration-line: none;">Roots Of American Music</a> ...</div>
<div style="background-color: white; color: #1c1e21; font-family: Helvetica, Arial, sans-serif; font-size: 14px; margin-bottom: 6px; margin-top: 6px;">
Then, we'll be swinging hard, leading our 5th Annual Mardi Gras Party at Akron's DownBeat rated nightclub, <a class="profileLink" data-hovercard-prefer-more-content-show="1" data-hovercard="/ajax/hovercard/page.php?id=172400852934441&extragetparams=%7B%22__tn__%22%3A%22%2CdK-R-R%22%2C%22eid%22%3A%22ARC6oLnVZjjozSpRBYDdQ0PFPiC04f7tfFQj9YF4Nt8Njff13jVL6baelEk8NCUYDIximFjd5B3JacGt%22%2C%22fref%22%3A%22mentions%22%7D" href="https://www.facebook.com/blujazzakron/?__tn__=K-R&eid=ARC6oLnVZjjozSpRBYDdQ0PFPiC04f7tfFQj9YF4Nt8Njff13jVL6baelEk8NCUYDIximFjd5B3JacGt&fref=mentions&__xts__%5B0%5D=68.ARCj93r5Gx4imyHWCD4KJL3_hzESjDpZC8ZCDu_lD6ypIg0AeXj9zVpiDoCEOJcgpxsr71vwo_JAIXMMi7oyVo1DWGX4oy4TL3ZRS8pOjE-Zk4Z9i0yb3KePmq6u3rHAhgTGLWbZNJueIu8twP3bU311zZSUo3hjNuzGTV9JlhCNLTl23I6utt5SiYos9fty9r1Bb_QIzjdcWRXc" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration-line: none;">BLU Jazz+</a></div>
<div style="background-color: white; color: #1c1e21; font-family: Helvetica, Arial, sans-serif; font-size: 14px; margin-bottom: 6px; margin-top: 6px;">
Hope to see you there!</div>
<div class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-family: Helvetica, Arial, sans-serif; font-size: 14px;">
<div style="font-family: inherit; margin-bottom: 6px;">
Eric Seddon - clarinet & soprano sax<br />George Foley - piano<br />Kevin T Richards - guitar (BLU only)<br />Gene Epstein - upright bass<br />Bill Fuller - drums & musical conscience of the band</div>
<div style="font-family: inherit; margin-bottom: 6px;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-4L3E74SqK3c/XlUhI1Y50FI/AAAAAAAAAL0/19l4o-gY408BBNYTNJrQ5fjORfr8FIXpACLcBGAsYHQ/s1600/BLU%2BMardis%2BGras%2Bscores%2Bclear.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="523" data-original-width="697" height="300" src="https://1.bp.blogspot.com/-4L3E74SqK3c/XlUhI1Y50FI/AAAAAAAAAL0/19l4o-gY408BBNYTNJrQ5fjORfr8FIXpACLcBGAsYHQ/s400/BLU%2BMardis%2BGras%2Bscores%2Bclear.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-yRG90f4KYds/XlUhRqAeUMI/AAAAAAAAAL4/QDrL4YwImlI1eR9ndm1FNQqg27Wzf3gjwCLcBGAsYHQ/s1600/BLU%2BMardi%2BGras%2B2020.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="966" data-original-width="1600" height="241" src="https://1.bp.blogspot.com/-yRG90f4KYds/XlUhRqAeUMI/AAAAAAAAAL4/QDrL4YwImlI1eR9ndm1FNQqg27Wzf3gjwCLcBGAsYHQ/s400/BLU%2BMardi%2BGras%2B2020.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-Tk5p3n1MWO0/XlUhnZ02stI/AAAAAAAAAME/-TJ5-a9jQ7YdF9ooGrDIZWcrOU0EMe9PQCLcBGAsYHQ/s1600/Burning%2BRiver%2BJazz%2BBand%2BLocomotive%2BNo%2BFrame%2B%25283%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://1.bp.blogspot.com/-Tk5p3n1MWO0/XlUhnZ02stI/AAAAAAAAAME/-TJ5-a9jQ7YdF9ooGrDIZWcrOU0EMe9PQCLcBGAsYHQ/s400/Burning%2BRiver%2BJazz%2BBand%2BLocomotive%2BNo%2BFrame%2B%25283%2529.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-dCHBzwqWSzM/XlUhv7xzM8I/AAAAAAAAAMI/Wf8ocGLBS_ME71nq5hoJ10Y6F5m_QAi1ACLcBGAsYHQ/s1600/Burning%2BRiver%2BLogo%2BUpdate.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="960" height="400" src="https://1.bp.blogspot.com/-dCHBzwqWSzM/XlUhv7xzM8I/AAAAAAAAAMI/Wf8ocGLBS_ME71nq5hoJ10Y6F5m_QAi1ACLcBGAsYHQ/s400/Burning%2BRiver%2BLogo%2BUpdate.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="font-family: inherit; margin-bottom: 6px;">
<br /></div>
<div style="font-family: inherit; margin-bottom: 6px;">
<br /></div>
<div style="font-family: inherit; margin-bottom: 6px;">
<br /></div>
</div>
Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-56780551779641074602020-02-19T09:17:00.001-05:002020-02-19T09:17:25.845-05:00100 Jazz Tunes Everyone Should Hear (#32) Paul Desmond with Dave Brubeck - Audrey<br />
<b>#32 - Paul Desmond with Dave Brubeck - Audrey - 1955</b><br />
<b><br /></b>
The opening number of the Dave Brubeck Quartet's first album - <i>Brubeck Time </i>- is immediately gripping in its understated beauty, inspired by actress Audrey Hepburn. Extra points for anyone who can catch the Mahler quote in Brubeck's intro.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/r_EaJ_PaYbo/0.jpg" src="https://www.youtube.com/embed/r_EaJ_PaYbo?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="background-color: white; clear: both; color: #666666; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 13.2px;">
<span style="font-family: "trebuchet ms", trebuchet, verdana, sans-serif; font-size: 13.2px;">[ <i>This is not a comprehensive list, nor is it representative of the "most important" or "best." Instead, following Duke Ellington's adage that the greatest music and musicians are "beyond category", I'm starting 2020 by sharing 100 jazz tunes I feel </i></span><i style="font-family: "trebuchet ms", trebuchet, verdana, sans-serif; font-size: 13.2px;">everyone should have the chance to hear--really just tunes and performances that I love.</i><span style="font-family: "trebuchet ms", trebuchet, verdana, sans-serif; font-size: 13.2px;"> ]</span></div>
<div>
<span style="font-family: "trebuchet ms", trebuchet, verdana, sans-serif; font-size: 13.2px;"><br /></span></div>
<br />
<br />
<br />Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-67677670900222590732020-02-18T13:29:00.000-05:002020-02-18T13:29:01.383-05:00100 Jazz Tunes Everyone Should Hear (#31) Peggy Lee <b>#31 - Peggy Lee - My Heart Belongs to Daddy</b><br />
<br />
I've always loved the way Peggy Lee got a band to eat out of her hand...how she holds them back till they burst...how they jump when she whispers...no whispering here, but you get the idea.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/rQYWsjUvxvw/0.jpg" src="https://www.youtube.com/embed/rQYWsjUvxvw?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="background-color: white; clear: both; color: #666666; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 13.2px;">
<span style="font-family: "trebuchet ms", trebuchet, verdana, sans-serif; font-size: 13.2px;">[ <i>This is not a comprehensive list, nor is it representative of the "most important" or "best." Instead, following Duke Ellington's adage that the greatest music and musicians are "beyond category", I'm starting 2020 by sharing 100 jazz tunes I feel </i></span><i style="font-family: "trebuchet ms", trebuchet, verdana, sans-serif; font-size: 13.2px;">everyone should have the chance to hear--really just tunes and performances that I love.</i><span style="font-family: "trebuchet ms", trebuchet, verdana, sans-serif; font-size: 13.2px;"> ]</span></div>
<div style="background-color: white; color: #666666; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 13.2px;">
<span style="font-family: "trebuchet ms", trebuchet, verdana, sans-serif; font-size: 13.2px;"><br /></span></div>
<br />Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-82198374364365018002020-02-18T09:56:00.000-05:002020-02-18T09:56:29.382-05:00Some Upcoming DatesFor those of you around the Cleveland/Akron area, here are some upcoming dates where you can catch me in various groups.<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-izyWy6NelGE/Xkv6UMsz7BI/AAAAAAAAALM/8-frwe6S0HMVqDdIgDO6p8i1Nyrji6ecgCLcBGAsYHQ/s1600/BLU%2BMardi%2BGras%2B2020.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="966" data-original-width="1600" height="241" src="https://1.bp.blogspot.com/-izyWy6NelGE/Xkv6UMsz7BI/AAAAAAAAALM/8-frwe6S0HMVqDdIgDO6p8i1Nyrji6ecgCLcBGAsYHQ/s400/BLU%2BMardi%2BGras%2B2020.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-R52mAaP9j0s/Xkv6k7aVC0I/AAAAAAAAALU/U0SZeHCWLikF4MfSb1B8JbWO-gFe2N1hgCLcBGAsYHQ/s1600/Upcoming%2BEvents%2BSpring%2B2020.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="895" data-original-width="1600" height="222" src="https://1.bp.blogspot.com/-R52mAaP9j0s/Xkv6k7aVC0I/AAAAAAAAALU/U0SZeHCWLikF4MfSb1B8JbWO-gFe2N1hgCLcBGAsYHQ/s400/Upcoming%2BEvents%2BSpring%2B2020.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-16501047058729339942020-02-14T12:59:00.001-05:002020-02-14T12:59:35.143-05:00100 Jazz Tunes Everyone Should Hear (#30) Artie Shaw - My Funny Valentine<br />
<b>#30 - Artie Shaw - My Funny Valentine</b><br />
<br />
Hey, it's February 14th, so why not? This version also happens to be one of the great, final recording of Artie Shaw and his Gramercy 5<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/t9B4kldkAVM/0.jpg" src="https://www.youtube.com/embed/t9B4kldkAVM?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="background-color: white; clear: both; color: #666666; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 13.2px;">
<span style="font-family: "trebuchet ms", trebuchet, verdana, sans-serif; font-size: 13.2px;">[ <i>This is not a comprehensive list, nor is it representative of the "most important" or "best." Instead, following Duke Ellington's adage that the greatest music and musicians are "beyond category", I'm starting 2020 by sharing 100 jazz tunes I feel </i></span><i style="font-family: "trebuchet ms", trebuchet, verdana, sans-serif; font-size: 13.2px;">everyone should have the chance to hear--really just tunes and performances that I love.</i><span style="font-family: "trebuchet ms", trebuchet, verdana, sans-serif; font-size: 13.2px;"> ]</span></div>
<div>
<span style="font-family: "trebuchet ms", trebuchet, verdana, sans-serif; font-size: 13.2px;"><br /></span></div>
<br />Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.comtag:blogger.com,1999:blog-1250386470498841857.post-58045272958594742532020-02-13T10:53:00.001-05:002020-02-13T10:53:36.778-05:00100 Jazz Tunes Everyone Should Hear (#29) Jelly Roll Morton * The Chant <br />
<b>#29 - Jelly Roll Morton - The Chant (1926)</b><br />
<br />
This band, people...this band...listen to how organically and easily they hit everything together, and the perfect delineations of the colors of the instruments...it's beautiful...no sacrifice of soul for balance, or balance for soul...incredible...<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/DsVaO9CFjuc/0.jpg" src="https://www.youtube.com/embed/DsVaO9CFjuc?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="background-color: white; clear: both; color: #666666; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 13.2px;">
<span style="font-family: "trebuchet ms", trebuchet, verdana, sans-serif; font-size: 13.2px;"><br /></span></div>
<div class="separator" style="background-color: white; clear: both; color: #666666; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 13.2px;">
<span style="font-family: "trebuchet ms", trebuchet, verdana, sans-serif; font-size: 13.2px;">[ <i>This is not a comprehensive list, nor is it representative of the "most important" or "best." Instead, following Duke Ellington's adage that the greatest music and musicians are "beyond category", I'm starting 2020 by sharing 100 jazz tunes I feel </i></span><i style="font-family: "trebuchet ms", trebuchet, verdana, sans-serif; font-size: 13.2px;">everyone should have the chance to hear--really just tunes and performances that I love.</i><span style="font-family: "trebuchet ms", trebuchet, verdana, sans-serif; font-size: 13.2px;"> ]</span></div>
<div>
<span style="font-family: "trebuchet ms", trebuchet, verdana, sans-serif; font-size: 13.2px;"><br /></span></div>
<br />Eric Seddonhttp://www.blogger.com/profile/13442234893615383964noreply@blogger.com