fed up, exhausted , In rural New Zealand, and, a response

stalled out. I play old time jazz (favorite Albert Nicholas) and hassidic/klezmer wedding music (fantasize Dave Tarras, “the Jewish Benny Goodman”) on an unique antique Buffer C 2-ring Albert system, with Boehm style long keys. I’ve had it for 35+ years and love it. I am using a 15 year old Ralph Morgan C Clarinet mouthpiece, a new Van Doren ligature (replacing Eddie Daniels) and Legere 2-3/4 Signature reeds that could be past their prime. Plays best at about A=441.(response;comment. Ralph Nicholas seems to play more like Benny Goodman, and plays well, especially in the low register, where he emulates Goodmans use of triplets outlining chords(1900-1973)/ Listening to Dave Tarras is much more fascinating, since Tarras seems to be a clarinetist who needed work and drifted into Klezmer without too many chops for Clarinet, period. The clarinet played by Mr Mermin is interesting, but only in the sense of his love for it. The C clarinet muthpiece is nothing he needs and not neceesary to duplicate. It is the length and pitch of the horn, which can be played by any Bb clarinet mouthpiece, without much sacrifice. Nobody who plays C, plays a C mouthpiece. As far as a new mouthpiece for your clarinet, I cannot suggest any better maker than Richard Hawkins, of Oberlin College. Astonishingly consistent mouthpieces, very well made.

… So maybe this is time to revisit all of the pieces.(comment: how interesting that most of us come to this conclusion, which is usually overlooked because of an impending job or , “on second thought“, maybe not. But, in your case, you can certainly use a new horn, more contemporary, which would mean “better tuned”, and perhaps those long keys you talk about, have already mention Hawkins mouthpieces, and I repeats, a c clarinet mouthpiece is simply not needed. I play c clainet withmy regular Bb mouthpece, without any problem. Most do. And , do not cut the barrel short, which would mean a trip to tiger country, a dangerous place, probably, even more so in New Zealand.

The Van Doren metal ligature with it many twists and turn and plates, is too heavy for any clarinet. A virtual shtick drek, even in France, and it is too expensive, and it is too heavy, though you may like its looks. The Eddie Daniels ligature is a fabric version of the Van Doren, expensive, and gaudy with its gilt colors. I is virtually a copy of the Rovner, which, in its simplest form, is the best ligature for your instrument and your mouthpiece.

You ask if Legere reeds wear out. My problem is the opposite. They do neither. I have never found one that has been duplcated. Crazy for a synthetic reed, the best proberty of which should be its ability to play like the next. That, dear sir is what synthetic implies .hey cannot be duplicated,therefore they cannot be revived. Forestone comes much much closer.

The cost of any so-called synthetic reed is in itself punitive, therefore prohibitive the forestone reed plays for a long time, with no real change in the quality. It doesn’t matter what your age might be. 20 bucks or more for a synthetic reed is ridiculous. Of course, when you hear a fine players demonstrated on synthetic, it does sound well. But that player sound well all the time on cane or a bird or a plane.

The best new stick or clarinet for your is Ridenour, any of the variously available models./
. Very well made, inexpensive, and doesn’t break or crack, not even in NEW zealand.

beat of luck , always, sherman

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