Word: clarinetists
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...young clarinetist was struggling to earn his band a name. The band played mainstream music with something extra--they blew big band jazz with an insistent get-up-and-dance beat. The band's early audiences came for the jazz, not the dance beat. At first there were problems--in Denver those who came to listen asked for their money back. But in Oakland, California, in late summer, the right audience came. They wanted that beat. They got it and loved it and the band moved on to its big break, playing Hollywood's Palomar Ballroom in a series...
...Louisville paper hanger, Banner started working during high school as a machine-tool designer, became a clarinetist, next bought, with a partner, a grocery store in Louisville and, after selling the store, purchased a bowling alley, then a drive-in movie. Finally, in 1958 Banner seized the chance to buy the Nashville franchise for Shoney's Big Boy, a sort of Howard Johnson's featuring double hamburgers. His success with Big Boys led to another with Kentucky Fried Chicken. By 1971, when Shoney's Southern franchiser wanted to sell, Banner was ready...
Meanwhile over at Sandy's jazz revival in Beverly, will be Buddy De Franco and his quintet. De Franco is an inventive clarinetist...
...Inventive bit of programming, a Mozart chamber work, the Clarinet Quintet, was also performed. Featured clarinetist David Kass was dazzling both technically and interpretively. With incredible breath control and unwaveringly beautiful tone, he gave the quintet a riveting emotional focal point. He was assisted by a fine string quartet with HRO concerto competition winner Lynn Chang as first violinist. Their sound was well blended, and if a lack of sensitivity to the light-hearted humor of the last two movements ended the piece on a dry note, the performance as a whole showed a unity and sincerity of interpretation...
...long and tortuous "Abyss of the Birds" movement. Kass showed clearly that he is the best clarinetist around. He tossed off the violent and jagged melodic lines with ease. Breathtakingly soft attacks in the highest register were followed by harrowing crescendoes without the slightest wavering in pitch. Wolff, although he had no comparable solo, sensitively handled the shifting harmonies, providing the quartet with a sure base for their soaring and sometimes frantically demonic melodies. The piece is full of fast unison passages for the strings which would glaringly expose any inconsistency in rhythm or pitch. Chang and Hogan played best...