Joffe Woodwinds Podcast 19 features the audio portion of the video interview entitled Eddie Daniels—Woodwind Virtuoso.
I first heard of Eddie Daniels when I began my woodwind studies with Joe Allard in 1971. Joe recommended that I go to hear Eddie play with the Thad Jones/Mel Lewis Orchestra at the Village Vanguard on a Monday night when he realized my desire to play jazz on clarinet. Hearing that band up close and listening to Eddie play jazz clarinet were life-changing experiences. Subsequently, I heard him featured on tenor sax nightly with the Dick Cavett Show big band on ABC and decided that I wanted to follow that career path-that of a studio musician. When I began studying with him, I soon realized the very high level of musicianship that was required to succeed as a multiple woodwind specialist. It was also clear that Eddie not only possessed a huge talent but also was the most dedicated instrument-practicer I had ever met, obsessed with improving and mastering his instruments. He was very clear and honest as a teacher and had the ability to immediately recognize and solve whatever musical or instrumental problems I was experiencing. The levels of excellence that he performed with on saxophone/clarinet/flute raised the bar for all doublers. Continue reading
I first met Paul when I was an undergraduate at Queens College, CUNY. I was a saxophone/clarinet player who had recently become interested in learning the flute and had been impressed by the performances of Paul as well as his students. I had about one year’s worth of experience playing the flute when he agreed to accept me. It changed my life. He introduced me to the Maquarre Studies, Telemann Methodical Sonatas, Anderson etudes, etc. as well as making me aware of Rampal, Baker, Galway, Kincaid, Larrieu, Nicolet, etc. He spent a Saturday morning at a Manhattan music store picking out a new flute for me and wouldn’t accept any payment for his time. Continue reading
I have always been a fan of the Boston Symphony Orchestra, attending their performances in New York, Boston and at Tanglewood as well as owning many of their recordings. As a woodwind player, I was particularly attracted to the sophisticated elegance of the woodwind sections in that orchestra throughout my adult life and in particular, clarinetist Harold Wright. When Harold passed away in 1993, it was hard to imagine who would be able to fill those shoes. It was to my delight that William Hudgins has emerged as his worthy successor. As you will hear in this interview, he exudes a sense of humility and respect for those players that came before him and a deep desire to keep alive the French concept of resonance in the tone. His continuing search for color in the sound along with greater expressivity is expressed throughout our interview and serves as a model Continue reading
I first listened intently to Ron Odrich when I purchased a Music Minus One recording, “Wood on Wood,” in the 1970s that had copies of his solos transcribed by Buddy DeFranco. Already infatuated by DeFranco, Goodman, Shaw & Eddie Daniels’ jazz clarinet playing, I quickly became acquainted with the good doctor’s performances and have remained a fan for the past 40 years. He has become a personal friend and neighbor as well over the past decade and I treasure his knowledge and input on musical and worldly issues–even when we disagree! His commitment to seek improvement in his music making continues to inspire all who know him. His deep understanding of the physiological forces that influence air and tone production that he shares with us in this interview are sure to provide many with a new perspective for playing wind instruments. Continue reading
I have known Ted for many years and always regarded him as one of the finest musical talents of my generation. His ability to use various disciplines to inspire his music (art, literary contexts, speeches, etc.) reflects his continuing interest in the world and our society. I have had the opportunity to play with him in commercial situations and always respected his humble, positive attitude and prodigious talent. I have also seen Ted in music education scenarios and he is equally committed to helping young players develop and carry on the tradition of superlative music making that he and his family have given us through the years. Quite simply, Ted is a musician’s musician. Please check out more information about this unique artist on his website at tednash.com. Continue reading
I first heard Lew Tabackin play on an album called “Introducing Duke Pearson’s Big Band,” released in 1967. Lew took an extended tenor solo on New Girl that remains to this day one of my favorite sax solos within the context of a big band. Since that experience, I have purchased many albums with Lew as a sideman and as a leader and have never been disappointed. Lew is a virtuoso saxophonist and flutist who continues to probe the possibilities of varied expressions on both instruments. He is also deeply committed to preserving the musical identities of some of the greatest tenor players in history—Coleman Hawkins, Lester Young, Ben Webster, Don Byas, Al Cohn, John Coltrane and Sonny Rollins. He has absorbed elements of their playing into his own unique voice and style. On the flute, he displays the same type of reverence for many of the classical giants he Continue reading
In this video interview, clarinet mouthpiece maker Brad Behn discusses his innovative mouthpiece designs along with his new barrels and bells. I first met Brad a little over 10 years ago when a former teacher of mine, Ron Reuben of the Philadelphia Orchestra, introduced me to his work. Brad’s desire to create a mouthpiece using the best technology available (Computer Numeric Control) along with top-of-the-line proprietary rod rubber material that so many of the great mouthpieces of past generations contained has led him down his current path. While finding vintage mouthpieces in excellent condition by clarinet mouthpiece makers such as Chedeville, Lelandais, Bettoney, Leroy, Kaspar, Robert, etc., would be akin to winning the lottery, Behn mouthpieces come the closest in my opinion to being able to replicate the sound and response characteristics of those vintage mouthpieces. Brad has spent a great deal of money and time searching for the correct Continue reading
I had heard about Joe Soldo from my saxophone/clarinet teacher, Joe Allard, some 40 years ago. Soldo was Allard’s dear friend and favorite pupil—a term Mr. Allard liked to use. When I finally met Joe Soldo 12 years ago, I understood why Joe Allard liked him so much. It wasn’t just that Joe Soldo played magnificent lead alto; or played flute with a beautiful “classical” approach; or that he was simply the best musical contractor one could ever hope to work for. It was that Joe Soldo lives for music, is still passionate about music at 91 years of age, and is as honest as they come. Ask Joe a question about anything that he has knowledge of and he will give you a straight answer with no holds barred! You’ll hear that in this video. I’ve had the good fortune of getting to know Joe and he reaffirms why Continue reading
Joffe Woodwinds Podcast 9 features the audio portion of the Broadway Conductors Forum video. Charlie Alterman, David Chase and Constantine Kitsopoulos carry forth their responsibilities with not only great talent and integrity but also create a positive feeling within the orchestra and cast. This interview provides great insight into the conductor’s world.
Joffe Woodwinds Podcast 8 features the audio portion of the The Contemporary Oboe Doubler video. Rick Heckman & Dan Willis offers rare insight into the world of the double reed doubler. Rick & Dan discuss the nature of what today’s oboe doublers encounter on the job and offer solutions to performance problems.