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Il Clarinetto Jazz 4/5

27/4/2020

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Soppiantato dunque dal sassofono durante l’epoca swing (e suonato spesso da sassofonisti per i quali era lo strumento secondario: Benny Carter, Johnny Hodges, Russell Procope, Herschel Evans, ma soprattutto Lester Young che gli adatta il suo stile tenore, la cui singolare bellezza del timbro soffiato ispirerà i clarinettisti cool), il clarinetto annovera nel corso degli anni ’30 alcuni solisti importanti: Artie Shaw, Cecil Scott, Edmond Hall. La relativa disaffezione dei musicisti per lo strumento si accentua con l’esplosione del bebop, che consacra il sassofono e la tromba come strumenti leader. Unica eccezione, di notevole livello: Buddy DeFranco, non soltanto strumentista ma innovatore di uno stile di clarinetto e di arrangiamenti che integrano gli apporti del bebop. Durante gli anni ’40 agiscono anche Tony Scott, Stan Hasselgard, Maurice Meunier e Hubert Rostaing, eccellente stilista, che sostituisce Stéphane Grappelli nel Quintette du Hot Club de France. Il dopoguerra vede svilupparsi l’importante fenomeno del New Orleans Revival che, evidentemente, colloca il clarinetto nella sua antica posizione: i francesi Claude Luter e Maxim Saury, l’olandese Peter Schilperoot (del Dutch Swing College) e lo statunitense Bob Wilber.
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Continua Lunedì prossimo
Clarinet is often played by saxophonists for whom it was the secondary instrument: Benny Carter, Johnny Hodges, Russell Procope, Herschel Evans. But above all, Lester Young who adapts his tenor style to him, whose singular beauty of the blown tone will inspire cool clarinetists. He was therefore supplanted by the saxophone during the swing era but included some essential soloists during the 1930s: Artie Shaw, Cecil Scott, Edmond Hall. With the explosion of the bebop, the relative disaffection of the musicians for the instrument is accentuated, which consecrates the saxophone and trumpet as leading instruments. The only exception, of the notable level, is Buddy DeFranco, not only an instrumentalist but innovator of a clarinet style and arrangements that integrate the contributions of the bebop. During the 1940s, Tony Scott, Stan Hasselgard, Maurice Meunier, and Hubert Rostaing, an excellent stylist, also replaced Stéphane Grappelli in the Quintette du Hot Club de France. The post-war period saw the development of the vital phenomenon of the New Orleans Revival, which placed the clarinet in its ancient position: the French Claude Luter and Maxim Saury, the Dutch Peter Schilperoot (of the Dutch Swing College) and the American Bob Wilber.
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Continue next Monday
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