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Tim Price man about town and go to guy since you are a fountain of info i need to know Perry robinson clarinet setup and do you have any experiences,anecdotes,ditties
Anything about this most unique and strangely Licorice playing dude.
I loved him playing that is with Gunter Hampel, Archie Shepp, Carla Bley,
New York Composers orchestra etc..
Please Tim do tell.
 

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Distinguished SOTW Columnist and Saxophonistic Art
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Tim Price man about town and go to guy since you are a fountain of info i need to know Perry robinson clarinet setup and do you have any experiences,anecdotes,ditties
Anything about this most unique and strangely Licorice playing dude.
I loved him playing that is with Gunter Hampel, Archie Shepp, Carla Bley,
New York Composers orchestra etc..
Please Tim do tell.
OK- - What I know is ;

In the FUNK DUMPLING period...that record on Savoy. Perry was using a Brillhardt Personaline clarinet mouthpiece and a _ONE PIECE_clarinet made by Conn "Armored" clarinet. That was a hard-rubber clarinet with a metal sleeve. NOW- I saw something like this similar that the great Rudy Rutherford had, Jimmy Yan let me try it, and it was made by Selmer. Rudy told me he used it with Basie too. The clarinet had a metal sleeve over the wood. But the Conn Perry had was rubber. This is the horn on the Henry Grimes ESP stuff to.

I wonder if this was the clary he used w/ Shepp & I am not too sure on that.

I never played a one piece body clarinet...like that other than 50 years later I tried a Rossi and dug it-but the mechanics were OUT TO LUNCH. Sound yes / anything else no.

The later Perry, recently he has a older Buffet that a Russian repair guy sold him with a Bay mouthpiece. A MO piece but....knowing Bay it might be anything. could be a huge tip and long facing or anything. The guy is mad brilliant. IMHO- I loved the" older" Perry sound from those Savoy days with Henry Grimes & those cats. KEEP IN MIND...recording studios in that period were jazz friendly. Rudy Van G and all those guys who KNEW the sound and loved the music. Different era today...way different.

YOU MUST.....Read Perrys book " The Traveler"Perry Robinson: The Traveler
http://www.amazon.com/Perry-Robinson-Traveler-Florence-Wetzel/dp/0595215386

There's some VERY FUNNY storys in there....GET IT. NOW!!:mrgreen:

OK- Some of the Perry stuff recently is kinda Klezzy for me- It's cool but I want to hear Perry like the way he played with Carla or Shepp.

From the clarinet end- That one piece thing fascinates me. So much so that in speaking to Patrick Selmer once when he was at a gig of mine- I asked him if he could get a Recital clarinet with a silver solid tenon in the middle so the ax could vibrate from TOP TO BOTTOM. He came thru a few months later with a horn made for me like I asked, and my Recital Bb clarinet vibrates from top to bottom...with a very nice metal sleeve at the center tenon inside at middle joint. When I got it, I ran to Jimmy Yan on 54 street & showed him. He tried it and said " Bloody F'in Fat sound Tim "....then tried it and sais the same thing and just laughed and laughed.
( You know I miss Jimmy everyday- he was my go to clary guy! )


Thanks for YOUR respect TPR...Hope I helped you.
 

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Discussion Starter #3
Tim Dog your the best as always and you helped me once again so much my head and saxophone exploded!!! BANG !BANG !POW!
 

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One afternoon in the late 50's when I was just getting interested in jazz — I was a clarinet student and hadn't started playing tenor yet — I tuned into hear Les Davis' jazz show on WBAI and he had Perry on as a guest. I was thrilled to hear modern jazz being played on a clarinet! At that time he was playing an old Selmer plateau (covered holes) model and he had just released Funk Dumpling, a great recording with cover art by Prophet Jennings. Some fifteen years later when I was living in Hoboken a friend introduced me to a circle of musicians she knew and I actually got to meet Perry. I wasn't actively playing then and I gave my old clarinet to my friend who must have learned it pretty well since she still plays with Perry today! Last year I met the amazing New Orleans clarinetist and jazz historian, Dr. Michael White. We were talking about contemporary jazz clarinet and he told me a story. He was working in some city (don't remember if it was N.O. or not) and someone told him, "You've got to hear this clarinet player who's in town." Well, it turned out to be Perry Robinson, who immediately invited Dr. White to join him on the bandstand to play some free jazz! It sure wasn't the sort of music White was used to playing but I think it says something about both of the men — and the music — that it came off successfully. Dr. White is now an enthusiastic player and supporter of traditional second line street music and free improvisation!
 

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Distinguished SOTW Columnist and Saxophonistic Art
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Tim Dog your the best as always and you helped me once again so much my head and saxophone exploded!!! BANG !BANG !POW!
TPR- You got it bro'....Thinking of Perry....Rem' " BECHET" club on the East Side in the late 70's early 80's?
I ran into Perry there, in the winter-he was diggin' Wilber-and Davern. Actually sat-in with them. He sounded great.

Here's the rub- there was a dude with him- a friend who played Klezmer. Older fellow- very cool. He had Albert System clarinets-and Davern and I always spoke about THE SOUND in an Albert System clarinet. In a way- if you get _Past_ the system there...you got it. But- the " true" soul of the horn lays in there. I'll explain...in the Jazz history a lot of clarinet players like Barney Bigard and a ton of Albert System clarinet players I dig. They are- Sidney Bechet, George Lewis, Leon Ropollo, Johnny Dodds, Jimmie Noone, Raymond Burke, Albert Burbank, Irving Fazola,
Gene " HONEYBEAR" Sedric ( Who Roland Kirk hipped me to Gene) , Alphonse Picou to name some favs. That horn has SOUND...a lot of Klez guys did make the switch but I admire the listed guys as they held fast. To me Johnny Dodds is SOUL. Just listen. He played a playing a SELMER improved Albert System clarinet. YOU CAN'T FIND A BETTER SOUND. :)

NOW- THE GUY WHO MADE MY BASSOON... Bernd Mossmann knows how to make a modern Albert system clarinet. We spoke of it many times. He is the successor of the famous KOHLERT Co.
Kohlert made killer Alberts. Mossmann jokes with me and said " If you play bassoon like that, THEN you had to study or know of the guys like George Lewis. Bernd told me that George played a PENZEL-MUELLER wooden Full-Albert clarinet via his Preservation Hall gigs, and used a white RUNYON "Swing Bore" mouthpiece. HUGE SOUND!!!!

This is common knowledge really in the grand sceme. Jazz didn't start with " Love Supreme" or the Brecker Bros.I love that stuff myself with all my heart but... BUT-without the cats I just mentioned THOSE styles would NOT exist. Guys today really need to go and STUDY/HEAR the roots of this music. It's being lost and I myself can not understand WHY a guy who has an education or more that 8 years on a horn has NOT had the inclination to get near stuff like Bechet, Jimmy Noone or even Tab Smith on alto or know what Art Tatum sounded like. Think about it...or just call "Honeysuckle Rose" at a session and look at the faces. Time spent listening is time inversted.:mrgreen:

The Euro guys are closer to making a better instrument in the long haul than the Pacific rim sax folks. If your looking for the SOUND..and the depth... then guys like Bernd Mossmann or the folks at Marigaux are fantastic. My current oboe is a Marigaux "Altuglas" It has plenty of presence, sweetness, and lyrical subtlety without being a "reed guitar." They took the
respect of the past into this century. IMHO- those two I just mentioned could make a modern clarinet that was NOT from the pastel school but sonically juicy and fat.

Anyhow- HTH- you got more info than you need LOL. This stuff is things I live with day to day-and try to champion. Thanks for asking. But check out those clary guys I mention for SOUND. :)
 

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Distinguished SOTW Columnist and Saxophonistic Art
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At that time he was playing an old Selmer plateau (covered holes) model and he had just released Funk Dumpling,
That clarinet was not the horn on " Funk " tho...it was the clary that was one piece that I mentioned. Perry told me in the late70's what it was. Just to clarify. He did used a covered key later..but might of had two clarys. I saw pics of the ONE PIECE a lot.
 

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My old clarinet teacher had some one piece Buffets. The beauty of them is that it allows the C#/G# key to be located in a better position — and also does way with the bridge mechanism. These days it's not easy to get grenadilla billets in the sizes needed to build reliable one piece horns. I know Rossi makes one — that's what Michael White uses — but I don't know why they couldn't be made of hard rubber or composite material like the Buffet GreenLines.
 

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I first heard Perry on the LP by the due Bunky + Jake "L.A.M.F." Maybe the only record by a folk rock group that features the clarinet. His playing throughout the record is great and worth a listen if you can find it. I also saw him with the Gunther Hampel Galaxy Dream Band when they came to Boston in the early 70's. His sound is really something and I wish there were more of that type of sound and feel in contemporary jazz.
 

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I know it's late but... the last time I saw Perry Robinson, he was playing a silver covered, wood bodied Selmer. I've never met a player more enthusiastic about the clarinet than him. RC
 

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I lived with Perry in the late 70s.
I went to high school with his cousin and met Perry while I was at Berklee at the Jazz Workshop.
The horn on "Funk Dumpling" (which sounds Paul Demondish to me) was a one piece Selmer closed /covered keys and low Eflat.At that time ,he turned it into a lamp.(!)
Through Perry I met(and played with) Gunter Hampel,John Marshall,Laurence Cook and Annette Peacock(Whom I toured Europe with)
He visits the "West coast" from time to time,brought Henry Grimes over to my house and we played a couple of hours.
 

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The horn on "Funk Dumpling" (which sounds Paul Demondish to me) was a one piece Selmer closed /covered keys and low Eflat.
That's exactly what I remember him saying in the interview with Les Davis.
 

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Distinguished SOTW Columnist and Saxophonistic Art
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I talked to Perry in the old " BECHET CLUB" in the 70's in NYC....He was very into Tony Scott. Tony had a Ben Webster / Prez kind of sound in his lower register.

THAT SAID, I hear that at times from Perry in the period we are speaking of. Desmond? That I'm not that sure of. But Tony Scott channeling
Ben and Prez yes.

It is a real sound...and I'm thrilled we are talking about him here.
 

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Discussion Starter #16
Yeah!... Tim is a mad genius and a good friend. really surprised this thread lasted this long? I read that George Garzone plays a decent licorice stick and has a #9 mouthpiece, wow! could he be playing Italian Tarantellas or his Chromatic Triad Voodoo on clarinet?
How about Jazz on a G- clarinet, like the ones used in Eastern Europe and Greece. kinda like Joe Lovano on the Jensen G soprano sax, dark and sexy. Oooh- Lala.
 

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Yeah!... I read that George Garzone plays a decent licorice stick and has a #9 mouthpiece, wow! could he be playing Italian Tarantellas or his Chromatic Triad Voodoo on clarinet?
No.:bluewink2:


TPR....The clarinet player you want to hear is Tony Coe or....Kenny Davern on the record he did with Lacy.

Remember the old ...JAZZMANIA...in NYC?? I heard Perry there with that band Licorice Factory. Mike Morgensterns old loft space.

Davern was in that....and you want to hear voodoo....Davern had the mind and SOUL to go out there and make it real. Kenny Davern NEVER
his just due....ever. To many thought he was a "trad" player. Nope...the guy was a walking talking wild man. The guy who owned Chiaroscuro
records ( Andy Sordoni) is a buddy of mine. Loves...Davern. We both heard the best be bop clarinetist in jazz...Kenny Davern. Kenny once played a party and played bop. It was awesome. As great as ANYONE.....You heard Davern play C Melody?? THE BEST. THIS....was the cat.

Another you would dig- Giora Feidman !! Jewish soul Klez. You'll never be the same:Rant:
 
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