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@thepessimisticclarinetist

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François Rasse (1873-1955) - "Lied" for bass clarinet and piano
Nikolay Inkizhinov - bass clarinet Anna Grishina - piano
Morphine: Cure for Pain solo
Hi Tumblr, I've been inactive again because I'm super busy at the moment, but here's another sax video for y'all.
(Admittedly not my best take, but I learned it in a day and was happy with it.)
Donald Byrd You’ve Got It Bad Girl (Live at Montreux July 5, 1973)
Written by Stevie Wonder Donald Byrd: Trumpet, Flugelhorn, Vocals Fonce Mizell: Trumpet, Vocals Allan Barnes: Tenor Saxophone, Flute Nathan Davis: Tenor & Soprano Saxophone Kevin Toney: Electric Piano Larry Mizell: Synthesizers Barney Perry: Electric Guitar Henry Franklin: Electric Bass Keith Killgo: Drums, Vocals Ray Armando: Congas, Percussion

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Johnny Hodges
photo: Ted Williams 1966
(English / Español / Italiano)
Johnny Hodges (1907–1970), nicknamed Jeep and also Rabbit, was an extraordinary and unrivalled musician. His name will remain written in jazz history as one of the most important soloists in Duke Ellington's big band, which he joined in 1928 at the age of just twenty-two and which, except for a period between 1951 and 1955, he would not leave until his death in 1970. He took his first steps in jazz with New Orleans clarinetist Sidney Bechet. From Bechet, he learned to play the soprano saxophone, an instrument that Hodges would play alternately with the alto saxophone until 1940, when he definitively adopted the latter. He later had brief stints with the bands of Lloyd Scott, Chick Webb, Luckey Roberts and Willie "The Lion" Smith.
Then came Ellington, with whom he spent his entire life as an indispensable member of his orchestra during the 1930s and 1940s. In Duke Ellington's orchestra, Johnny Hodges enriched the already impeccable wind section with his innovative, original and undeniably polished sound. Outside of Ellington's orchestra, he led a number of groups and combos with members from Ellington's own orchestra, which proved to be equally magnificent. His encounters with other musicians are also important, showing that he was capable of generating swing with his saxophone regardless of the group he was playing with.
His encounters with organist Wild Bill Davis, pianist Earl Hines, trumpeter Dizzy Gillespie and fellow pianist Teddy Wilson are particularly noteworthy. He recorded around thirty albums under his own name, two of which stand out in particular. The first was recorded with Ellington's orchestra – his orchestra – and on which the 'Duke' allowed him to lead the session and release the album under his own name, a privilege never granted to any other member of the orchestra. The title: 'Side by Side', recorded for Verve in 1958. The second was recorded in 1964 for the Impulse! label and titled Everybody Knows, featuring virtually the entire Ellington horn section. With his death in 1974, Johnny Hodges seemed to herald the end of the Ellington orchestra, which would also pass away four years later.
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Johnny Hodges (1907 –1970), apodado Jeep y también Rabbit, fue un músico extraordinario e inigualable. Su nombre permanecerá escrito en la historia del jazz, como uno de los solistas mas importantes de la gran orquesta de Duke Ellington en la que ingresó en 1928 con apenas veintidós años, y que salvo un periodo tiempo (1951-1955), no abandonaría hasta su muerte en 1970. Sus primeros pasos en el jazz los dio con el clarinetista de New Orleáns, Sidney Bechet. De Bechet, aprendió a usar el saxo soprano, instrumento que Hodges tocaría alternativamente con el saxo alto hasta 1940 en el que adoptó definitivamente este último. Posteriormente pasó efímeramente por las bandas de Lloyd Scott, Chick Webb, Luckey Roberts y Willie «The Lion» Smith.
Después llegaría Ellington con quien pasó toda su vida siendo un elemento indispensable en su orquesta durante los años treinta y cuarenta. En los pupitres de Duke Ellington, Johnny Hodges, enriqueció con su sonido la ya de por sí, impecable sección de vientos de la orquesta con un sonido innovador, original y de una pulcritud innegable. Fuera de la orquesta de Ellington, abanderó números grupos o combos con miembros inclusive de la propia orquesta ellingtoniana que resultaron ser igualmente magníficos. Sus encuentros con otros músicos también son importantes, dando muestras de que era capaz de generar swing con su saxo con independencia de la formación en la que tocara.
Así es destacable sus encuentros con el organista, Wild Bill Davis, con el pianista Earl Hines, con el trompetista, Dizzy Gillespie o el también pianista, Teddy Wilson. Grabó a su nombre cerca de una treintena de discos y de ellos dos sobresalen con luz propia. El primero grabado con la orquesta de Ellington – su orquesta- y en la que el «Duke» le permitió liderar la sesión y editar el disco a su nombre, un privilegio nunca concedido a ningún otro miembro de la orquesta. El titulo: «Side by Side» grabado para «Verve» en 1958. El segundo grabado en 1964 para el sello «Impulse!» y titulado: «Everybody Knows» con prácticamente la sección de vientos de Ellington al completo. Con su fallecimiento en 1974, Johnny Hodges parecía anunciar el fin de la orquesta de Ellington que fallecería también cuatro años mas tarde.
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Johnny Hodges (1907-1970), soprannominato Jeep e anche Rabbit, era un musicista straordinario e ineguagliabile. Il suo nome rimarrà nella storia del jazz come uno dei solisti più importanti della grande orchestra di Duke Ellington, nella quale entrò nel 1928 a soli ventidue anni e dalla quale, salvo un breve periodo (1951-1955), non si allontanò fino alla sua morte nel 1970. I suoi primi passi nel jazz li fece con il clarinettista di New Orleans Sidney Bechet. Da Bechet imparò a suonare il sassofono soprano, strumento che Hodges avrebbe suonato alternativamente con il sassofono contralto fino al 1940, quando adottò definitivamente quest'ultimo. Successivamente passò brevemente per le band di Lloyd Scott, Chick Webb, Luckey Roberts e Willie "The Lion" Smith.
Poi arrivò Ellington, con cui trascorse tutta la sua vita come elemento indispensabile della sua orchestra negli anni Trenta e Quaranta. Nei banchi di Duke Ellington, Johnny Hodges arricchì con il suo suono la già impeccabile sezione fiati dell'orchestra con un sound innovativo, originale e di innegabile pulizia. Al di fuori dell'orchestra di Ellington, guidò numerosi gruppi o combo con membri provenienti anche dalla stessa orchestra ellingtoniana che si rivelarono altrettanto magnifici. Anche i suoi incontri con altri musicisti sono importanti, dimostrando che era in grado di generare swing con il suo sassofono indipendentemente dalla formazione in cui suonava.
Sono degni di nota i suoi incontri con l'organista Wild Bill Davis, il pianista Earl Hines, il trombettista Dizzy Gillespie e il pianista Teddy Wilson. Ha registrato circa trenta album a suo nome, due dei quali spiccano in modo particolare. Il primo è stato registrato con l'orchestra di Ellington, la sua orchestra, in cui il "Duke" gli ha permesso di dirigere la sessione e di pubblicare il disco a suo nome, un privilegio mai concesso a nessun altro membro dell'orchestra. Il titolo: "Side by Side", registrato per la "Verve" nel 1958. Il secondo è stato registrato nel 1964 per l'etichetta "Impulse!" e intitolato "Everybody Knows", con praticamente tutta la sezione fiati di Ellington. Con la sua morte nel 1974, Johnny Hodges sembrava annunciare la fine dell'orchestra di Ellington, che sarebbe morto anch'egli quattro anni dopo.
Source: Apolo y Baco
James Whitbourn: Son of God Mass (2000) para coro mixto, órgano y saxofón soprano.
Paweł Gusnar, saxo Krzysztof Urbaniak, órgano Dawid Ber, director Coro Filarmónico de Łódź
Soprano sax took a tumble and ended up with a slight bend in the body and the table key upper post pushed inward (first photo), a bent G# lever (second photo), and a misaligned G# post (third photo).
A Studio Ghibli classic 🐈⬛
Katie Porter — Conversation No. 1: Collecting Rocks from the Places We’ve Been (Relative Pitch)
There is something stark about Relative Pitch releases, something immediate and bristling about the sounds they contain. Of course, this is a gross generalization, and there’s a world of beauty underpinning each sonic gesture, certainly true on Conversation No. 1, this series of bass clarinet miniatures from Katie Porter. Here, we are far from the relativelytame world of Pierre Boulez’s Dialogue de l’ombre double (1984), but a wonderful recording ensures that Porter’s is a language of nuance and controlled freedom in delicious fragments.

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Clarinetist Doreen Ketchens playing for her grandson.
HAPPY NATIONAL SAXOPHONE DAY 🎉🥳🥳🥳🥳 BEAUTIFUL AND MOST SPECIAL INSTRUMENTS