[Dixielandjazz] The Clarinet in Jazz

[Phil Pospychala]

We think John Otto is among the best at handling 1920s phrasing and tone.  He's played in most of my prior 18 Tribute to Bix fests.  John also does a damn good BG gig although it's not my bag.  Shouldn't musicians listen to the old 78s or at least reissues in various formats?  It's not to dupe exactly but to have the correct feel for authentic 1920s sound.  I lthink this is the most significant reason most every Hollywood movie never has the period music right.  I've noted the music is still wrong although a good contemporary trad band is used.  They have to play out of period tunes.   Has John ever been asked to play background stuff in a 1920s or 30s film?  I'll have to ask him.
 
Phil Pospychala > Date: Mon, 14 Jan 2008 19:50:36 -0500> From: barbonestreet at earthlink.net> Subject: [Dixielandjazz] The Clarinet in Jazz> CC: dixielandjazz at ml.islandnet.com> To: bixguy at hotmail.com> > For the clarinet players on the list. "Intonation? We don't need no stinkin> intonation." <grin>> > Cheers,> Steve Barbone> > > Paquito D'Rivera Interview by Bill Donaldson JAZZ IMPROV MAGAZINE Jan 08> > JI: Talk about the role of the clarinetist in jazz?> > PD: Well, it¹s coming back again, isn¹t it? There are very few of us jazz> clarinetists: Eddie Daniels, Don Byron and Ken Peplowski. But more people> are acquiring again the affection for the instrument. The clarinet> disappeared for many years. John Coltrane brought back the soprano> saxophone, but that instrument is a lot easier to play than the clarinet.> They say that the clarinet was invented by five men who never met. [Laughs]> I always say that the clarinet is a female instrument because you never know> what she is thinking. The instrument is totally unpredictable. Most of the> time, the instrument plays fine. Then I put it aside to go get a glass of> water, and when I come back, it doesn¹t work any more. With the saxophone,> if the reed gets dry, you blow the horn a little bit, and you get sound> again. But the clarinet? Totally unpredictable!> > JI: You work hard on intonation?> > PD: Oh, a little. I try, no? Actually, I have produced a new CD called ³The> Tuning CD.² It¹s supposed to help clarinetists control their intonation.> That¹s very important. I don¹t achieve control of intonation all of the> time. Sometimes clarinet players play out of tune, and there¹s no way they> can control it. This, I am very conscious of. I hate playing out of tune.> Either clarinetists play well, or they don¹t play the instrument. It¹s hard> to find a bad clarinet player. When they cannot play, they say, ³Well, I am> not interested in playing. I just own the clarinet.² For other instruments,> you can blow more or less, and it¹s not so terrible. But with instruments> like the clarinet or violin, musicians must play well, or please don¹t do> it. > > JI: What about articulation?> > PD: I think articulation is extremely important. Many jazz players overlook> the need for articulation. The lines that they play are very even and always> boring. Another important consideration is dynamics. Too many jazz players> don¹t pay attention to dynamics. They play all of the same style: loud.> That¹s what happened with rock-and-roll. Improvising is like writing a piece> in impromptu.> > > _______________________________________________> To unsubscribe or change your e-mail preferences for the Dixieland Jazz Mailing list, or to find the online archives, please visit:> > http://ml.islandnet.com/mailman/listinfo/dixielandjazz> > > > Dixielandjazz mailing list> Dixielandjazz at ml.islandnet.com
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