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I have for many years used a vintage (1959) R13 clarinet. It is a great instrument for orchestral music but seems to be lacking a big enough voice for jazz. As a result, I have recently switched to sop sax from clarinet in a Dixieland group in order to be heard over the other horns (tpt, tbn, tenor sax).

So I'm wondering what clarinets other folks might using for jazz performance.

This could also be related to the mpc/lig/reed setup, so suggestions along those lines are also welcome.

Thanks to all who reply.

KM
 

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Well, Up until about 2000 I was using a Buffet Evette Master Model (R13 clone) with the included Evette mouthpiece, Buffet 2 screw lig, and Rico Royal MH reeds.
Then I got a Selmer Signature and used the included C85-105, Selmer 2 screw lig, and Mitchel Lure 3.5's.
I later got a Portnoy 3 and Bonade Inverted lig and continued to use Lurie reeds. Once in a while I'd use a Rovner lig, but that was usually for concert band stuff....

Your horn is fine. You may just want to try a few different mouthpieces and reeds.
Don't forget that your audiance hears you better than you hear yourself.
 

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Any clarinet that plays well can be used for jazz, especially so-called "Dixieland". I say so-called because us purists much prefer the phrase "traditional jazz".

I play clarinet as a secondary instrument to soprano saxophone and alto saxophone, primarily soprano. But there are a bunch of tunes where I feature clarinet. I do not amplify it, either (believing that anything amplified just overbalances the ensemble). Bandmommy is right when she cautions that the audience hears us much better than we do. I've been in the audience many times.

My primary clarinet is a Buffet RC Prestige Bb soprano Boehm System. I use a Claude Lakey 5* mouthpiece, Fibracell 1 1/2 Premier synthetic reed, and a standard metal two-screw ligature. I have other clarinets, too, that I've used from time to time, but the Buffet is #1 for me. DAVE
 

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I use a '55 R-13, which is very powerful and fine for jazz, the bore being slightly different and slightly larger than the later, "Golden Era" R-13's, ('65 onward). Your '59 should be the same as my '55. I'm using a vintage Charles Bay H-1, Medium Open, Medium Facing Length (MO-M) with Lurie Premium 2 1/2 reeds, Rovner EVO, Lurie Spring Board 2 Screw inverted or FF ligature. I will tell you that I've found that playing Jazz on Clarinet requires a re-thinking of your tonal concept and embouchure and a whole lot of in depth listening to the greats (Shaw, Goodman, DeFranco, etc.). At least it did for me.
 

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Selmer Centered Tone, Leblanc LL, Selmer Series 9, Buescher True Tone, Conn 444, Penzel Mueller "Brilliante", Boosey & Hawkes 1010, (in short, "anything but buffet" :mrgreen: )
 

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PS don't get (or buy) into the "big bore" vs. "small bore" clarinet thing... it's really about the shape (straight cyl vs. conical vs. poly) than the bore size. Most "good jazz clarinets" are more about the cyl bore or relatively non existent taper on the top joint.
 

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Selmer Centered Tone, Leblanc LL, Selmer Series 9, Buescher True Tone, Conn 444, Penzel Mueller "Brilliante", Boosey & Hawkes 1010, (in short, "anything but buffet" :mrgreen: )
I disagree with "anything but Buffet" and you left out LeBlanc Dynamic H which I believe later became the Pete Fountain Model.
 

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Yeah. I don't care for Pete Fountain. And I don't care for Buffet... this is why this is called an "opinion forum" and not a "fact forum"... I don't like Buffets, I'm sorry if me having a different opinion... (No, I'm not sorry for having an opinioin, I'm sorry if me having a different opinion as yours irritates or bothers you or anything along that lines)
 

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My main jazz clarinet has been a Selmer C.T. because I find it has the easiest right pinky cluster to manipulate when doubling (it's farther away from my third finger than on any of my other clarinets) and the tone holes seem bigger which is more comfortable for me.

I also use a Selmer Saint Louis, Buffet Master Model, Ridenour Lyrique, Buffet New Vintage and a Vito V40. In other words.......... there really is no "jazz clarinet". All of my clarinets work quite well for jazz or classical. The whole dark vs. bright is lost on me when it comes to clarinet. I think it's more up to the mouthpiece, embouchure, brain and soul. I use a Vandoren 5JB mouthpiece and 2.5 La Marca Pete Fountain reeds.
 

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Yeah. I don't care for Pete Fountain. And I don't care for Buffet... this is why this is called an "opinion forum" and not a "fact forum"... I don't like Buffets, I'm sorry if me having a different opinion... (No, I'm not sorry for having an opinioin, I'm sorry if me having a different opinion as yours irritates or bothers you or anything along that lines)
I want to say that I disagree and that I am more informed than you but I don't and I'm not.
 

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Selmer Centered Tone, Leblanc LL, Selmer Series 9, Buescher True Tone, Conn 444, Penzel Mueller "Brilliante", Boosey & Hawkes 1010, (in short, "anything but buffet" :mrgreen: )
You mean like the Buffet that Eddie Daniels plays?

Why is it that you don't think a Buffet is good for jazz?
 

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The last I knew Eddie Daniels played a Leblanc Concerto or Concerto II....
I do know that at one time or another in their careers Benny Goodman and Artie Shaw played R13s' along with Selmer clarinets.
Those guys knew how to get some serious sound out of a clarinet. I have a Pete Fountian album. It's ok, but his sound is a little too 'loose' for my taste. :)
 

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I find that Buffets aren't that suited to being "pushed". The tone breaks sooner, they sound flat when you need the extra power... I guess that I feel they lack dynamic range. This is all my opinion and personal taste... not "fact facts". I started out on a CT and played most of my life on CT's, the keywork layout feels like home to me... although I've liked better other clarinets in some aspects (sweeter altissimos, less "violent" detache when plaing loud, etc) I've never ever played a better clarinet than Selmers when it comes to throat tones, clarity of the entire extension and keyboard layout. The downside of Selmers is the intonation changes a lot when going from extreme pianissimo to fff.

(PS Bebopalot I don't care much for Eddie Daniels' tone... it's like the stan getz of the clarinet tones IMHO and I don't like that)
 

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Yeah. I don't care for Pete Fountain. And I don't care for Buffet... this is why this is called an "opinion forum" and not a "fact forum"... I don't like Buffets, I'm sorry if me having a different opinion... (No, I'm not sorry for having an opinioin, I'm sorry if me having a different opinion as yours irritates or bothers you or anything along that lines)
No need to apologize. Your opinion doesn't bother me at all. I'm not irritated or bothered. I'm not sure why you'd think that. I just disagree and stated that. I also think that the horns you mentioned are fine horns, especially the Centered Tone and the Dynamic H should be included. I, along with a whole bunch of other clarinetists, like Buffet clarinets. Just because I disagree with your statement doesn't mean that I've had some visceral response to what you wrote. If you make strong statements, though, you might expect a response on an opinion forum..
 

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BM never heard of Shaw or Goodman playing Buffets. I do know good ole Benny went from his Lxxxx BT selmer to a CT briefly and then he changed over to Boosey clarinets.
 

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The last I knew Eddie Daniels played a Leblanc Concerto or Concerto II....
I do know that at one time or another in their careers Benny Goodman and Artie Shaw played R13s' along with Selmer clarinets.
Those guys knew how to get some serious sound out of a clarinet. I have a Pete Fountian album. It's ok, but his sound is a little too 'loose' for my taste. :)
You are correct. I believe that Daniels played Buffet clarinets before his deal with Leblanc. Same with Ken Peplowski who now also plays a Concerto II. I've tried the Concerto II and can't figure out why people love them so much. The are not bad but certainly not anything special. There really is no clarinet that is like a Selmer C.T. I find them to be special.

Juan, I am not a big fan of Eddie Daniels either. I think he may have great technique but the music he chooses to play leaves me cold and his tone is just a shoulder shrug for me.
 
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