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In Reply to: RE: I love that comparison. posted by rbolaw on March 26, 2017 at 13:17:51
the few violin/cello pieces I had were a bitch for me on flute. I don't have the kind of air stream control that a real flute player has. Thing is, they're so beautiful, pure and enjoyable to play.
This reminded me to look for that music - haven't shed it for quite a while. I liked (shudder) playing it on alto/soprano saxophone in a jazz style too, improvising at different spots as the mood struck, then returning to written notes.
I only have the Casals Bach suites and don't really dig his version that much. Too damn stiff and I don't care for his time. To me, a lotta classical soloists have lame rhythmic conceptions.
Follow Ups:
I so agree with you about classical folks and time. Their concept does not relate at all to jazz, time or conceptually. Only clarinetist I've ever heard who could cut both is Eddie Daniels.
I will never forget that gawdawful CD that Richard Stolzman made with Woody's band after he passed. Ever hear it? Oh, boy.
I also agree about CB. Seems like an excuse NOT to phrase. Except, of course, Rahsaan, but I think it wound up killing him.
"If people don't want to come, nothing will stop them" - Sol Hurok
I heard a clarinet player playing a Choro on You Tube a few years ago, that went on for 5 min with NO breaks.
Circular Breathing, and a couple of squeaks, Very impressive.
on the flute is Robert Dick, without question. I've heard him use it in classical music but he usually uses it with his contemporary stuff. I've heard it successfully used on the clarinet, too.
Where does Robt Dick play? I recognize the name.
Carey Bell, Prin Cl in SFS can do it.
There was a R. Strauss Couperain Suite we played in SF Ballet, all upper register Clarinet part, fast, tounged, he nailed w/C.B.! ( before he was in SFS)
Robert Dick is a Yale School of Music alum who studied flute with Julius Baker and composition with Jacob Druckman and has had an active solo career for a long time and many CDs. He's most famous for his new music and extended techniques such as circular breathing, multiphonics, glissandos and whisper tones, and he literally wrote the book on extended techniques for the flute: The Other Flute, published by Oxford University Press. He plays a lot in the hip clubs of Brooklyn, where he now lives, but he lived in Europe for years and has performed all over the world.
An interesting guy who works in many styles, classical, jazz, rock, world music, improvisation, you name it.
I have to agree with Rick, circular breathing isn't right for everything, but Robert sure can put on an amazing show with it.
Sounds like what it is to me - an unnatural effect. Space is good. Wish pianists and string players had to breath. I never liked jazz pianists whose solos are an endless stream of notes without pause.
Re breathing strings, hear the Yale Quartet play Mozart K 421!
Jeremy
Some of us (pianists) play with singers and wind/brass players, and we get schooled! ;-)
progress HAS been made over the decades!
You might dig the Haimovitz, there's some nice improv and a certain... swing... to sections.
"Once this was all Black Plasma and Imagination" -Michael McClure
I would like to have heard Casals when he was younger than he was in his Bach suites recording, and he did lead the way, but I must agree that progress has been made, as you say.
I wonder if it is more a matter of his Bach-interpretation era than of his age. He was a good deal older (than when he recorded the Bach) when he conducted an extraordinarily muscular and energetic Mozart 40th at, I seem to recall, Glyndebourne.
Jeremy
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