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Home , Simon Spillett, Stan Sulzmann, Stan Tracey, Tubby Hayes

Autumn 2015 Volume 40, No 3

Five Sax ClarinetFest 2015 SaxOpen ’ Legacy RICHARD EDWARDS Inside Welcome to the autumn magazine EDITOR’S NOTES Regulars Features 2 Editor’s Notes Richard 5 John McCaw Tributes Edwards congratulations to Luke Montgomery 6 Stan Sulzmann Feature plus from Sidcup in Kent in winning the actual 2 Clarinet & Saxophone guide to improving your sense John Packer JP221 Bb clarinet reviewed Society Details of time, William Upton in the summer edition of this magazine. 6 The judges had a very challenging task 4 News 12 Who Are Our Readers? Art in selecting who should receive the historian Clive Ashwin talks to instrument and our thanks go to John 30 Reviews Stephanie Reeve Packer for supplying it. 30 Accessory Two aspects of the competition made 32 CD 14 The Long Shadow of the me think. first, and easiest, was that the The Editorial Board - clockwise from bottom left: William Upton, 37 Concert majority of entries were generated from Little Giant The life, work and Stephanie Reeve, Susan Moss, Richard Edwards, 39 Instrument legacy of Tubby Hayes, the website compared with those from Graham Honeywood and Janet Eggleden. the magazine. This is certainly a sign of 40 Music Kenneth Morris the times and challenges an editor of a Don’t miss the Birmingham international clarinet association’s printed magazine. The second aspect is conservatoire Saxophone Day with clarinetfest in Madrid where she 43 Diary Details of concerts, 16 Trinity College of more concern. There were many naomi Sullivan, andrew Tweed, anna mentions players well-known to readers courses and playdays Woodwind Syllabus 2015 - requests for the instrument for a wide Brooks, Kyle Horch and flotilla on of this magazine. 2016 Saxophone grade two, 50 Letters to the Editor range of reasons but all related to the Sunday 18th october. Take advantage of andrew Roberts was in Dallas, Texas in Stephanie Reeve lack of provision in schools of the discount for clarinet & Saxophone June his report from the Texas clarinet 28 52 Classifieds instruments and tuition. i must be very members. Details can be found on page colloquium will be in the next issue. His 20 XVII World Saxophone fortunate for having worked for several 51 of this issue and in the diary section. account reflects his interest in the health 52 Index of Advertisers Congress ‘SaxOpen’ Full decades in north West Wales and never in this issue we bring you reports of and well-being of musicians. report from Richard Ingham have had any issues regarding supplying the major single reed events that took There is also a large review section. of 55 New Members and Nicola Pennill a child with a good quality, well place during summer. i hope you will be particular interest are the instrument maintained woodwind instrument. alas inspired to go to future events. Richard cases reviewed by Leslie craven and 26 International Clarinet this is manifestly not the case ingham and nicola Pennill give an innovations from Howarth of London Association Clarinetfest throughout the UK. The effect of excellent overview of Saxopen, the 17th with clarinets for the young learner. government policy with regard to World Saxophone congress, which took The first issue of Clarinet & Saxophone Susan Moss reports from austerity is having a profound effect on place in July in Strasbourg, carrying on magazine i produced was in September Madrid music education at ground level with the baton from the 16th congress held in 1999. i’ve now edited 61 issues and have instruments not any longer readily St andrews. Mark your diaries for the decided to retire following the next issue. Follow us on: 28 Five Sax Kenneth Morris available and tuition patchy. We all need 18th one to be held in Zagreb in July it is time for fresh ideas and a younger introduces this group taking to be aware of this and prepared to 2018. it was pleasing to read of generation to take the helm and enable the world by storm support those who can fight our case. involvement of young saxophonists, me to have a reduction in workload! i do Surely education is a right and why @cassgb 56 Debussy and the Bass 43 especially the group from Bolton. Susan hope that you enjoy this issue. I should music be marginalised? Moss gives an account of the Clarinet Helen Paskins facebook.com Join the Clarinet & Saxophone Society at www.cassgb.org /cassgb

The Clarinet & Saxophone Society of Presidents: Richard Ingham and Janet Hilton *Secretary: William Upton, Great Britain was founded in 1976 for the Flat 504, California Building, Deals Gateway, Past Presidents: Lt. Col. Trevor Le M. Sharpe London, SE13 7SF benefit of everyone who has an interest in MVO OBE, Jack Brymer OBE, Dame Thea King, Tel: 0758 824 7421 the clarinet or saxophone and their Sir CBE [email protected] Join the Clarinet & Saxophone repertoire: teachers, students, professional Vice-Presidents: Paul Harvey, Charles Hine *Treasurer: John MacKenzie, cover: or amateur players, manufacturers and 1 Brookdene, Ashwell, Oakham, Rutland, LE15 Society at www.cassgb.org atéa Quintet composers. The Society has members in Honorary Members: Janet Eggleden, Paul 7LQ over 35 countries. The Society is a Harvey, Alan Lucas, Susan Moss, Kevin Tel: 01572 756128 Murphy [email protected] company limited by guarantee: registered The official Publication of the clarinet & Saxophone Society of Great Britain autumn 2015 Volume 40 number 3 in England no. 3010228, whose registered Board of Directors: David Campbell (Past- *Editor: Richard Edwards, office is at 23 Hanbury Close, Ingleby chairman), Janet Eggleden, Gemma Harvey, Fron, Llansadwrn, Menai Bridge, LL59 5SL, Tel: Graham Honeywood, Shea Lolin, James Rae, 01248 811285 [email protected] Editor: Richard Edwards advertising: clarinet & Saxophone, fron, Llansadwrn, LL59 5SL Barwick, Stockton-on-Tees, TS17 0UQ. Stephanie Reeve, plus those indicated* clarinet & Saxophone, fron, Llansadwrn, Menai Bridge, LL59 Tel: 01248 811285 [email protected] *Membership Secretary: Andrew Smith, 5SL. Tel: 01248 811285 [email protected] 23 Hanbury Close, Ingleby Barwick, Stockton- copy dates: January 15, april 15, July 15, october 15 on-Tees, TS17 0UQ Editorial Team: Philip Bee, David campbell, Bethan Edwards, Tel. 08456 440 187 Janet Eggleden, Graham Honeywood, Kenneth Morris, Susan ©all copyrights reserved 2015 • issN 0260 390X [email protected] Moss, Stephanie Reeve, William Upton, Sarah Watts Views expressed in the magazine do not necessarily reflect those of the Editor or the Editorial Board Membership: andrew Smith, Tel: 08456 440187 Back numbers of the magazine are available to members from the Membership [email protected] SociETy of GREaT BRiTain Secretary price £4.95 or via the website: www.cassgb.org

2 clarinet & Saxophone autumn 2015 www.cassgb.org www.cassgb.org clarinet & Saxophone, autumn 2015 3 STAN SULZMANN STAN SULZMANN

William Upton leading a group with frank foster.” Stan Sulzmann My envy at this catalogue of the greats is tempered by the fact that Stan himself has some big regrets from this time, as he didn’t take the opportunity for lessons with any of new york’s finest. “i was just too frightened of everybody – i was in awe of everything. it wasn’t like it is today, STAN there seemed to be this huge divide between those that played and us.” it had been a similar story even in London. “My Dad took me to ’s in my school uniform to see Ronnie and Tubby Hayes, but they were a bit fearful people.” SULZMANN Today, top musicians like Stan are teaching at 9am the day after a gig, but as is clear from the biography of Tubby Hayes, reviewed in this magazine, these With the UK producing a steady supply of been the shedding of some of the less 15, playing top 10 hits with Mike Rabin’s figures fully conformed to the archetypal exciting young jazz musicians, it can feel glamorous aspects of his playing Demons, resident band at the Wimbledon image of the volatile jazz musician. The like anybody who hasn’t accumulated a portfolio. “i don’t double like i used to, Palais, which at the time was a big part of result was that although Stan was stack of nominations by the and the session scene has gone, so my the London music scene. had exposed to so many of the greats, it was time they’re 35 has missed the boat. The time is focused on trying to develop my played there a year earlier, and were still very much up to him to develop his career of saxophonist Stan Sulzmann, improvisational skills, trying to play the followed by the Rolling Stones, Pink technique and style. now in his mid-sixties, is an excellent saxophone better, and writing more. i’m floyd, The Who, The Kinks, and a host of fortunately, early in his career Stan fell reminder that we shouldn’t be so quick to much more focused now. it’s taken me a american R‘n’B stars. a year later he in with a group of young musicians who knock the maturing process. Having long while to get to that, and it’s not been became a regular performer at The soon became celebrated in their own spent decades building a career as one of an easy ride. i hear things i did 30, 40 flamingo, a nightclub in right. Pianist , saxophonists the most versatile and sympathetic years ago and think, ‘oh my God, that’s synonymous with blues bands led by the and , and the sidemen around, over the last few just dreadful!’ i just think i’m a better likes of , Graham Bond and late flugel hornist were all decades the gently-spoken giant from player now.” John Mayall, also notorious for mods, driving forces behind the emergence of islington has been receiving ever- Stan’s introduction to music making gang culture, and sexual scandals (the European jazz as we know it today, increasing critical acclaim for his work as came early. His father was a semi- Profumo affair is a notable part of its exemplified by ‘the EcM sound’. “it was a a band leader with his groups neon, the professional accordionist and pianist popular mythology). case of earn while you learn, playing with working in London before and during the This all sounds like some musical Stan Sulzmann Quartet and the Stan them, like ‘So what are you doing there war, performing for the coach outings to education, but one that doesn’t seem to Sulzmann , and as ever-present John? What’s that scale, and how does it the seaside that were a staple of British have involved much jazz. for this, Stan saxophonic foil to flugel hornist and fit over this?’ People showed me things all pub culture. “My Dad loved George tells me, he turned to the nascent the time, so i learnt by sitting next to great composer Kenny Wheeler. Even so, Shearing”, Stan tells me, adding that not national youth Jazz orchestra, then people, keeping my ears open, asking beyond the dedicated UK jazz community, many people know that the popular jazz called the London youth Jazz orchestra. them questions, and then trying to fathom Stan remains one of the most under- pianist was also an accordionist, (as was “My Dad saw an article on LyJo in the it out myself. nowadays everything is exposed musicians in Europe, his big- another stalwart of the post-war UK jazz paper, and i went along to the second nicely laid out in books, but there’s a price toned but delicately phrased playing scene, ). “So we listened to rehearsal and stayed with it. i’d never met to pay for that because everybody is players. “Somebody was looking for Hayes and Kenny Barron, and they ended deserving of the widest possible audience. jazz standards on Radio Luxembourg and any other people that liked jazz or played trained the same way, it’s very hard to musicians to go on the Queen Mary, as up talking to us because they couldn’t ironically, he is also probably one of the Voice of america, which was an american the same instruments, so that was a keep people’s individuality.” Stan is quick part of what was called ‘Geraldo’s navy’”, place us – i was only 18 and they wanted most heard saxophonists in the world. He armed forces station, and could get pretty really good time.” to add that many students do of course he tells me, Geraldo being the stage name to know what we were doing there. it was is the saxophonist playing the familiar crackly.” Even today it’s easy to hear this Many readers will be familiar with the develop highly individual styles, and that for Gerald Walcan Bright, one of the most the same with the charlie Mingus band. i intro to every episode of the television background in popular tunes and jazz characteristic nyJo sound of the last few much of what comes out of the system is popular dance-band leaders of the 1930s, saw the great Quintet with series Poirot. standards in Stan’s own playing and decades, a signature blend of brash stunning and creative. who after the war ran an agency, booking Wayne Shorter at the Village Gate in a “Practice”, Stan says somewhat ruefully writing, which remains rooted in melody. virtuosity, slick technique, and although studying jazz has become a musicians for the transatlantic liners. double bill with the Dizzie Gillespie as i interrupt his evening session for our Stan’s father was also instrumental in testosterone-fuelled breakneck tempos. i more straightforward affair, earning a Jenni Watson, in the Winter 2014 edition Quintet with James Moody; we went in and interview. “it’s a strange thing we do in a his decision to take up the saxophone. asked Stan if it had a distinctive sound living remains just as much of a struggle of Clarinet & Saxophone, gave an insight the place was still fairly empty, so we sat vain attempt to try and get better.” This “Dad always thought i could do like he did from the start. “yeah, its distinction was as it was in the 1960s and ‘70s. ‘There are a into why musicians today might consider five feet from the stage. i saw the count sounds particularly modest coming from and make good money as a semi-pro that we weren’t very good!” he laughs. few people that make big reputations, but going on the boats, and the benefits for Basie Band at the Rainbow Grill at the top a musician who exemplifies better than musician, something that doesn’t exist in “There was no similarity with what the for most of us it’s just a long hard slog. Stan in the late 1960s were even more of the Empire State Building, just doing a most what time spent honing a particular the same way today. you got yourself a band sounds like these days, in any shape and of course what we’ve done with the acute. “i did a year going backwards and steak house gig; Lionel Hampton with a skill can do. When i put to him that his safe job and then played in the evening, or form. i mean, i could read music, but i’d education side is produce vast numbers of forwards to new york, and it was big band at the Metropole café, all stood career as an improviser has followed a making extra money. He took me to the always read straight, study book material, incredibly skilled players with nowhere to absolutely fantastic”, he enthuses. “i in one straight line; the Bill Evans Trio at more gradual trajectory than most, he’s Selmer shop on charing cross Road, and and i wasn’t any good at syncopated go. it’s like the americans say, ‘We’re heard so much brilliant music in new the Village Vanguard. you just got off the happy to agree. “it’s taken me a long traded in his accordion and bought me a reading. The brass section, love them to training all these people to play to take york; i can’t even begin to tell you.” Jazz boat and rang a number called The Jazz while to get to what i’m doing now, but it lovely Selmer Super action tenor. Every death, was sort of non-existent in the way our jobs when there’s no work in the first was at a low ebb in the ‘60s, with clubs Line to find out what was on, or bought a wasn’t by choice”, he tells me. “i was Sunday i went for lessons with a chap that nobody had any chops. The rhythm place.’” as a teacher at the Royal academy such as the iconic Birdland washed up and copy of the Village Voice. i saw the Thad always trying – i always had bands and called Terry Porter, who i’m still in touch section was good and there were a few of Music, does Stan have any reservations boarded over in the face of Rock and Roll. Jones/Mel Lewis Big Band nine or 10 invested my time and money – but i went with. it used to take me about two hours people that could play, but it wasn’t what about guiding young musicians down a nevertheless, this gave Stan unrivalled times, which was absolutely fantastic. through long periods where i played a lot to get there on two trains and a bus, which you would call a band. But it was fantastic potential blind alley? “i’ve had so much opportunities to get within touching That was always packed, and it was the of commercial music, not because i i did for two or three years, until we fun, and i learnt to read a bit there.” joy from being a musician, and it’s such a distance of the music. “i sat in places original band with Eddie Daniels, Joe wanted to but because i brought up a moved back to London in 1964 to some Playing in LyJo also opened up the privilege. There are tough times, but how where the two of us, a drummer from the farrell and Pepper adams, which was family, so i wasn’t in the main picture of flats near the Wimbledon tennis courts.” opportunity of a lifetime for Stan, could you tell somebody else to not to boat and i, were the only punters. We lovely. i missed seeing coltrane because the jazz scene.” The secret to his post- This move gave Stan the opportunity to courtesy of the fixers who would want to achieve that. What we have to do listened to Joe Henderson with Louis he died that year, but i did see Elvin Jones millennial purple patch, he tells me, has kick-start his music career at the age of regularly call the band looking for is train them to be realists, to be able to

6 clarinet & Saxophone, autumn 2015 www.cassgb.org www.cassgb.org clarinet & Saxophone, autumn 2015 7 TUBBY HAYES TUBBY HAYES

Combined Master Saxophonists Series with a book and re-issued CD – The Long Shadow of The Little Giant The Life, Work and Legacy of Tubby Hayes

it is now some 42 years since Edward enjoyed despite the passage of more than text that makes this tome hard to put any jazz musician regardless of his or her collection demonstrates Tubby’s abilities tracks from a live Brian Hayes, known to his colleagues and four decades. The following ‘bullets’ down. i can do no better than quote what i current interests. Very strongly to generate truly magnificent improvised concert recording the Modern Jazz Scene fans as Tubby died following heart underscore just a few of his suspect to be Equinox’s Series Editor’s recommended indeed. lines at any tempo, on both fertile and (1956) in which Tubby takes no part, and surgery in a London hospital. Born on achievements: (alyn Shipton) ‘back-cover’ commentary: unusual chord sequences and with a The London Jazz Quartet 14 track January 30th 1935, also in London, and in O called from the audience to deputise ‘Spillett painstakingly outlines a career TUBBY HAYES - SEVEN breathtaking technique. session, see below. in fairness, four of the the words of his current biographer for missing Ellington tenorist Paul that alternated professional success and Tubbs contains five tracks with a brass public concert tracks are quite delightful and Melody Maker mid- Gonsalves at a Royal festival Hall personal downfall. Using credible eye- CLASSIC ALBUMS or woodwind bolstering section whilst Quartet numbers, wherein his ’60s columnist Bob Dawbarn, ‘was a man concert. He did so well the ‘Duke’ invited witness recollection, drawn from Real gone jazz 4-cd set Rgjcd 402 Return Visit has James Moody and clarinet playing accurately emulates who emerged from an ordinary him to play for the second house. conversations with Hayes’s family, over four and a half hours of material, all Roland Kirk supplementing a Tubby- Buddy Defranco. original LPs/cDs background to do truly extraordinary O made the first american federation of partners, friends and musical colleagues, bar one of the albums (All Night Long a plus-three rhythm section, otherwise the included are: After The Lights Out (1956) things’ and who ‘bestrides like Musicians/Musicians Union approved unique access to Hayes’s own tape, strange but short orchestral excursion groups are quartets or quintets. i can’t an excellent quintet session with Dickie a colossus’. Late this spring and more or US/UK jazz musician ‘swap’, subsequently photographic and personal archives, and into jazz influenced film background say that any of these supplementary Hawdon on trumpet, Tubby Hayes and less simultaneously, Equinox Publishing revisiting many times (at US request). extensive contemporary research music, not in my view particularly activities enhance the end product but featuring Ronnie Scott Limited and Real Gone Records produced O co-led the enormously popular Jazz material, Spillett has reconstructed the successful), containing a great deal of neither do they take away the four-point- (1957) – superb, The Last Word – The Jazz material more than adequately couriers with Ronnie Scott. trajectory of his subject’s life both Tubby in top form. The original LPs or five or five stars i would give to every Couriers featuring Ronnie Scott and displaying the talents of our subject tenor O played a wide range of jazz festivals candidly and respectfully. Hayes’s cDs involved are: The Jazz Couriers In album save All Night Long. if you possess Tubby Hayes (1959) – brilliant, another saxophonist. consequently this article including antibes, Lugano, Vienna and meteoric musical rise from boy wonder to Concert (1958), Couriers Of Jazz (1959), no Tubby recordings – buy this set. slightly strange assemblage of two attempts to bring a little oxygen of . Toured in US, and . youthfully mature virtuoso, from Tubby’s Groove (1959), Tubbs (1961), multi-instrumentalists (Tubby and alan publicity to their efforts and hopefully O was a prolific ‘session’ saxophonist to multi-instrumentalist and Tubbs In New York/The New York TuBBy hayEs voLuME 2 Branscome London Jazz Quartet (1959) introduce Tubbs’ legacy to an even wider musician/arranger in many genres. composer is faithfully documented, as is Sessions (1961), Return Visit (to new york Five classic albums plus bonus EPs and which appears to mix modern jazz and audience. O became an equally proficient his struggle for relevance as rock, pop in 1962) and a two track extract from tracks wallpaper music to the benefit of neither, But first a potted biography of this ‘sessioneer’/jazz improviser on flute and and the avant-garde took over the Equation In Rhythm (with Jack costanzo Real gone jazz 4-cd set Rgjcd 448 even though both men display their master musician, who not only developed vibraphone. musical landscape in the 1960s. for the in 1962). again over four hours of play but not abilities on various saxes, flute and vibes. into a world class improviser on the Tubby was a ferocious hard worker all first time, the opaque world of his With the exception of the Couriers in quite as exciting as Volume 1 above – The balance of this package is taken up tenor, but became very proficient indeed his life, almost certainly contributing to inconsistent and troubled personal life is Concert the reissue re-mastering has largely due to the inclusion of eight by excerpts from ‘Tubby Hayes and his on all the saxes plus flute and vibraphone his premature death. recounted in full. His unsettled delivered excellent quality but even this Orchestra - The Little Giant, Swinging and was, in addition, an excellent The Long Shadow of the Little Giant childhood, his battles with addiction and slight imperfection fails to diminish the Giant – Volumes 1 and 2 and Pub arranger. His father, a violinist and dance published by Equinox Publishing Limited ill-health and his difficult personal excitement of the masterful Crawling (all 1955). Typical of Tubbs he band leader, gave Tubby a solid is sub-titled ‘The Life, Work and Legacy of relationships are all exposed, and the improvisation work from Tubby and of never gives us a poor solo regardless of grounding in music from age eight via Tubby Hayes’ and very expertly written by confused accounts of his final days are course, in the couriers tracks, his what else is going on. i find that the violin lessons and by the age of 12 Tubby another enormously gifted UK jazz tenor unravelled and made clear as never compatriot Ronnie Scott. Each album earlier his work the more he sounds like had persuaded Dad to divvy up for a tenor saxophonist, Simon Spillett (born before. The book also traces Hayes’s path contains a track or two with Tubbs on Getz or but this is not a saxophone. With a remarkable talent for chesham, Bucks, 1974). indeed i would go through one of the most vibrant periods vibraphone but there is very little of his criticism just that across the two Real self-learning (as far as wind instruments so far as to say that this book is the finest of history, beginning in the austerity of flute work here. nevertheless this Gone volumes you can track his were concerned), an extremely good ear piece of biographical writing i’ve come post-World War Two London, through the development from a very mature 20 and Dad’s instruction in musical theory at across in many a year. Bearing in mind ‘never had it so good’ 1950s, the ‘Swinging year-old to a virtuoso at 24! the piano keyboard, Tubby was playing that Simon was born in 1974 he clearly Sixties’ and into the privations of the Kenneth Morris I his tenor for money by the time he left had to depend entirely upon sources for ‘State of Emergency’ early Seventies, and full-time schooling. from 1951 to 1973 his splendid 377 page opus; but what a outlines the cultural and musical Tubby delivered his take on modern jazz magnificent exhibition of information developments of the times which initially via a ‘kiddie band’ of teenagers mining has he made of the task. 10 years underpinned the life of arguably the UK’s through the lower ranks of professional of effort encapsulated in finest ever jazz musician.’ groups to his own small and big-bands acknowledgements to literally hundreds in other words Simon firmly places the plus co-operative ventures with Ronnie of personal interviews, 29 pages of biography in context making it, in my Scott and others, all the way garnering detailed source notes (annotated in the humble opinion, an important plaudits, awards and international text) many of which in themselves make contribution to both the socio-political acceptance for his fluidity of technique extremely interesting reading, and 22 and non-classical music history of and awe-inspiring improvised solos. pages devoted to a select discography. as Tubby’s lifetime. Simon takes us through fortunately much of his recorded work Simon points out the rather less than virtually all 38 years of his existence and has been captured to cD, and thus also to permanent content of record company work activity in chronological order. streaming services such as Spotify and catalogues make the availability of many There is, of course, much detailed youTube, so that both his personal of Tubby’s re-issues a little uncertain. information on Tubby’s individual development (in both style and sound) However the listings permit serious performances, his technique and his can be explored and his sheer collectors to help nail versions in the approach to different music styles, tempi creativeness, as a player and arranger, second-hand market. But it is the body and group make-up – indeed plenty for

14 clarinet & Saxophone, autumn 2015 www.cassgb.org www.cassgb.org clarinet & Saxophone, autumn 2015 15 CLARINETFEST MADRID CLARINETFEST MADRID

Susan Moss reports on The International Clarinet Association, July 2015 ClarinetFestMadrid

Jozsef Balogh Sarah Watts and Laurence Perkins

capriccio clarinet orchestra capriccio clarinet orchestra after only two years, the ica clarinetfest lecture by nicholas cox on the emotional was back in Europe! a bonus for background to the Brahms op. 120 Europeans in terms of travel, not sonatas. as all the lectures were only 30 necessarily so for the rest of the world. minutes each, nick did a marvellous job charles Hine and Stephen Mcneff Rocco Parisi Madrid in July is notoriously hot, and in the time allowed, of conveying Brahms’ when i learnt that even the Spanish frame of mind in the early 1890s. on the government retreats to the hills in July, one hand, he had lost many friends and and friends started talking about thought he might lose clara Schumann Dampits, i started to worry. as it turned too. on the other, meeting Richard out, a brief thunderstorm and a regular Mühlfeld removed a creative block that breeze made the temperature bearable brought him out of retirement. The talk even when it was 42°c, and of course a referred in particular to the ‘dark’ first superpads great deal of time was spent in the air- movement of the f minor sonata, and was conditioned conde Duque cultural centre thoroughly absorbing to listen to. listening to concerts. Much of the music on offer was written foR cLaRinET The 2015 clarinetfest was organised by in the 21st century, literally hundreds of the Spanish clarinet association (aDEc) conde Duque cultural centre pieces from around the world but if you and bore the title ‘antonio Romero and his scanned the programme carefully there bass clarinettist performing, a lone time’. 2015 is the bicentenary of this was Brahms, Mozart, Weber and Poulenc player, looked upon as slightly crazy. Spanish clarinettist’s birth. as usual there to be heard. The most duplicated piece Regular bass players Rocco Parisi and were three concerts running always seems to be Ponchielli’s Il Sarah Watts didn’t disappoint. Rocco gave simultaneously throughout the day which Convegno, but then the whole festival is a a varied programme of arvo Pärt, made for difficult choices. after convegno. i would like to pay tribute to Mangani and a Latin medley of his own. supporting other British artists and the house accompanist Pablo Puig who Sarah, together with bassoonist Laurence friends, it’s very easy to choose players must have appeared in more concerts Perkins, performed a beautiful, gentle whom one has heard before and enjoyed, than anybody else. He was highly piece by David Bennett Thomas called so i made the effort to hear some new accomplished, totally unflappable and EBB. players this year, the most outstanding of breezed through even the most difficult clarinet choirs were well represented which was céleste Zewald from the accompaniments, such as the Howells as usual with groups from the netherlands playing Keuris, Martinu and Sonata, as though it was a walk in the netherlands, istanbul, austria, Berlin, Babin. on the friends’ list, József Balogh park. Thailand, Mexico, Great Britain and of was a must-see and not for the first time, at the end of the festival, all clarinetted course, Spain. There were other József completely stole the show with a out, the place to go was the Prado ensembles that had been put together virtuoso display of his own compositions, Museum with its collections of Goya, especially for the festival, some with with improvisation, in both jazz and gypsy Velasquez, Titian and Rubens, and no minimal rehearsal, all with an styles. clarinets! There will be more reviews of only from international cast of players. Every year there are more and more the ica clarinetfest 2015 concerts in the Quietly running alongside the non-stop bass clarinet concerts and Harry next issue of Clarinet & Saxophone. www.woodwindco.com music was a series of lectures, Sparnaay pointed out that in the early The 2016 ica clarinetFest will be held masterclasses and the young artist [email protected] days of the clarinetfest he was the only in Lawrence, kansas, usa, 3-7 august. I competition. i managed to get to the

26 clarinet & Saxophone, autumn 2015 www.cassgb.org www.cassgb.org clarinet & Saxophone, autumn 2015 27 ACCESSORY REVIEWS ACCESSORY REVIEWS

ACCESSORY REVIEWS Bb and bass clarinet case

than a4) and accessories in an outside New – Lightweight pocket and two internal zipper pockets, one with a see-through plastic window to Cases from Reed & enable fast location of pencils, pens, Squeak screwdrivers, painkillers etc. The cases come with several padded as a result of a last-minute phone call inserts with Velcro attached to customise from Steve Morris from a company called the case as one sees fit. i like this idea Reed and Squeak (the name had me in because sometimes i like to pack extra giggles for a while) i recently showed an barrels and mouthpieces and other bits of ultra lightweight double clarinet case equipment in the case itself – so being during a lecture on innovative clarinet able to change the configuration is an products at the 2015 clarinet convention advantage. in cardiff. i f o u n d i t t o b e r e a l l y g o o d f o r m y w o r k after the mirth about the name had – as currently i am alternating between they are extremely heavy and for a pro waterproof. subsided i got on with looking at the case playing Eb clarinet and the standard Bb player, especially those carrying saxes on the rucksack straps there they had sent and found it was no and a pair. and bass clarinets etc., etc., weight or are metal delta links that can laughing matter – it is a serious bit of kit Two Eb clarinets fit beautifully into the rather less of it is a key factor. During my withstand weight in excess of and they have clearly done a great job of case (i take a spare in case of innovations lecture at the clarinet 20 kilos. Extremely durable sourcing a company to manufacture these emergencies) and on other days when i do convention i deliberately dropped a Reed coated polyester outer not require Ebs, i remove them and put to their specific designs. i am pleased to Plenty of pockets and see through space and Squeak case with an instrument in material complemented by an say they are completely made in Britain, a my pair of Leblanc opus clarinets in. all from a height of six feet straight onto a inner of velour covering a the instruments easily fit into the double proud and honourable boast for any this light is an enormous improvement on hard floor and the clarinet played high density foam. Reed and company in this highly competitive case and it can be fitted with straps to perfectly afterwards, no damage Squeak also offer an 18 turn it into a rucksack (i’m told that new any case i have used so far. Unlike cases market. with moulded internal designs for the whatsoever. This was not exactly a month guarantee. The materials used to make the cases versions are being designed to have even scientific test but impressive and quite Price points vary more comfortable straps but the ones specific clarinets, the open padded spaces are high quality and the cases themselves can be used to take a single Bb in two shocking to the class, eliciting gasps from according to the actual are very versatile. supplied on this case were perfectly the audience in the room. i would not be design as R&S make several comfortable enough). halves with an Eb as well as other The lightness is a huge advantage and a combinations such as Bb & c clarinet – so confident doing that with a standard models including the contra double case with clarinets and Reed and Squeak actually have a triple instrument manufacturer’s case. indeed i bass clarinet (to Low c) case in production (as we squeak – oops, which for me in the opera is a great accessories weighs less than four kilos. improvement on having to carry different have known clarinet keys to be bent in case. Prices vary from the Dimensions: length 43cm, height 27cm, sorry) and numerous other very cases, when a case was inadvertently modest £49 for a single innovative designs including an incredibly cases around because in many normal depth 14cm - colour black. cases one cannot fit a c clarinet into the dropped, or on a car journey the case was case to £650 for the contra There is ample room for music (full light bass clarinet case. in the boot and may have been exposed to case. for me, having had serious neck injury Bb or a space. for doublers with flute the sized scores not just a4 – i found that a case can easily be adapted using the an impact due to hard braking. Prices for current bonus as many opera parts are bigger and with constant pain caused by The R&S prices are competitive with products are as follows: herniated cervical discs, having a case removable inserts to enable a multitude of configurations. most other popular brands and R&S are compact double £245, So, all in all this is a contender for me committed to continually improving their compact double in to rival all the other case manufacturers. line of products. So far the list of pro leather £395, double for There are also leather and hard cover players using R&S cases includes: John Eb+Bb or flute+Bb £79, cases on sale from the website Bradbury (BBc Phil), Robert Hill (LPo), freelancer case (for Rossi http://reedandsqueak.com and they also Tim Lines (formerly LSo and cBSo), or clarinets in one piece) offer instruments and other accessories Joanna Patton (cBSo), chris Richards £229, single case for Bb for sale. (LSo) and of course the directors Steve or Eb £49, single case in a bespoke case service is also available Morris (freelance) and Mark o’Brien leather £75, compact for special made to order cases in (cBSo). bass clarinet £295, bass lightweight materials or leather and the i am sure it will not be long before clarinet stand case £45. cost begins at £250, upwards depending other illustrious names are added as this Leslie Craven I on design and materials used. product is very sympathetic to Reed and Squeak claim that these cases professional needs and will also make the offer even more protection than most amateur’s experience of carrying rigid cases because the material used clarinets more comfortable. internally absorbs the shock of impact whereas many cases have hard surfaces New products in the pipeline: inside which in the event of a major • Super compact bass clarinet - very impact could bend keys. i can see the lightweight. logic of this and it is virtually impossible, • Triple clarinet case for any without sacrificing comfort from a weight combination of three clarinets. point of view, to fully protect instruments • Buffet single case cover that holds from extreme damage, such as being run music and includes rucksack straps. over by a bus – but barring that i think • alto sax, flute and clarinet case. these cases offer plenty of protection. • Super compact double clarinet case There are some cases on the market that all cases have double stitched seams, may withstand such a tragedy by bus but leather handles and are 99.9% Bass clarinet rucksack

Double case for clarinets as backpack Double case using shoulder strap 30 clarinet & Saxophone, autumn 2015 www.cassgb.org www.cassgb.org clarinet & Saxophone, autumn 2015 31