Over the years, Buddy DeFranco's admirers have often wondered why the
clarinet's popularity as a jazz instrument declined considerably after
World War II and the swing era -- why haven't more improvisers applied
Charlie Parker's ideas to the clarinet, and why is the clarinet usually
stereotyped as a swing/Dixieland/classic jazz instrument rather than a
bebop, post-bop, avant-garde, soul-jazz, or fusion instrument? Perhaps
it has something to do with the demands of the clarinet -- it is a tough
instrument to master, and it becomes even more demanding when you're
dealing with the complexities of bop. But those challenges never stopped
DeFranco, who was 30 when he recorded Mr. Clarinet for Verve in 1953.
By that time, DeFranco was being hailed as "the Charlie Parker of the
Clarinet," and he lives up to that title on this excellent album (which
boasts Kenny Drew on piano, Milt Hinton on bass, and Art Blakey on
drums). Throughout Mr. Clarinet, DeFranco makes the clarinet sound
perfectly logical as a bop instrument -- which was certainly an
innovative thing to do back in the late '40s and early '50s. Whether he
is playing original material or standards (including "But Not for Me"
and "It Could Happen to You"), DeFranco refuses to let the clarinet's
evolution end with Benny Goodman, Artie Shaw, Sidney Bechet, and Barney
Bigard; he has no problem making the clarinet sound relevant to the
bebop scene of 1953. (It should be noted that Shaw was also exploring
bop on the clarinet in the early '50s, but regrettably, he decided to
retire from music in 1955.) Most of the bop-oriented recordings that
DeFranco provided in the '50s are well worth owning; Mr. Clarinet (which
Verve reissued on CD in 2002) is no exception. Alex Henderson
Written-By – Buddy DeFranco
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