The great clarinettist Buddy DeFranco died on December 24, and I’ve been meaning to write something about him ever since, but always seem to have been preoccupied by other matters.
Well, now Buddy himself has saved me the trouble. Here’s a fascinating piece he wrote for Down Beat magazine, published in their March 11 1953 edition:
My Favorite Clarinetists by Buddy DeFranco
(Ed. note: Buddy DeFranco started winning in the clarinet division of the Down Beat poll in 1945 and hasn’t stopped grabbing plaques since. He’s taken eight in a row, and we thought that it would be of much interest to Down Beat readers to see who the men were that most influenced Buddy’s style.)
There are, naturally, many clarinetists whose playing influenced mine and to whom I listened as often as I could. But I have been asked to name those whom I consider tops in the field and who did most to shape my clarinet style. they are, in order:
* Benny Goodman. I pick benny first just for his sheer proficiency as a clarinetist. He has a good tone, clean, sure technique, and a basic pulse which he introduced as “swing” many years ago. He’s just an automatic first and my idol for years.
* Artie Shaw. I’d name Artie second because of his fluent style and originality. He could handle a melody as easily as a swing piece. And he also has a fine harmonic sense. I had figured that Artie would move more and more into the progressive field, but unfortunately I was disappointed.
* Stan Hasselgard. My deepest regret is that Stan is not with us today. I have the feeling that he would eventually have surpassed everyone in the field of clarinet jazz.
I have often been asked if I ever felt jealous of or vindictive toward Stan. I can say only that during the short time I knew him, he was a warm, honest human being. His kind of competition would have been healthy. Perhaps we could have created (commercially, that is) the same fervour and interest in the clarinet that Benny and Artie did a few years back.
* Jimmy Hamilton. A guy with a good tone, excellent technique, and an original style. I expect great things from Jimmy in the coming years.
* Peanuts Hucko. Although I feel that perhaps Peanuts sounds too close to Benny and not original enough, he nevertheless has excellent facility and an exceptional tone.
* Abe Most. Again I get the feeling that Abe sounds a little too much like someone else, in this case Artie Shaw. But he sure can handle a clarinet.
* Johnny Mince. Johnny has been a favourite of mine ever since I heard him years ago with Tommy Dorsey, when he was playing some brilliantly fast and creative things. I honestly feel that if Johnny weren’t hindered in his present surroundings (studio work) he would definitely make his mark in the modern jazz field.
* Tony Scott. Tony is another clarinetist who is developing a personal style and just at the beginning of what will be a big career. He is acquiring great proficiency and a keen harmonic sense.
There are other clarinetists, too, whom I admire a great deal. Lester Young, for one. I consider his jazz ideas the greatest of anyone’s, but the infrequency with which he plays clarinet keeps him from the list.
Another man, too, who is a great all-round musician and is skilled on clarinet but seldom plays it is Benny Carter. Sol Yaged, too, should be mentioned.
That’s it. That’s my list. I’ve probably forgotten half a dozen guys who should be on it, but the ones I’ve mentioned I think would qualify in anyone’s book.