Sound

Now that you understand the role of the clarinet in the Dixieland jazz band, we need to talk about tone—which is just as important here as it is in any other ensemble or style.

A great place to start is by listening to Dixieland clarinet players and deciding which tone you like best. One of the most iconic early voices on the clarinet (and soprano sax) was Sidney Bechet. Bechet is often criticized for his raw tone and wide vibrato, but his sound was deeply inspired by opera singers and their phrasing. If you transcribe one of his solos, you’ll find references to great operatic melodies, and you’ll start to hear how similar his tone is to the human voice. This type of sound is perfect for emotionally uplifting songs or moments where you want the instrument to sing—quite literally.

Another important figure comes from the tradition of Preservation Hall: Willie Humphrey. Humphrey had a gritty, raw tone and was sometimes just a little out of tune—at least to my ears! Still, his style was full of soul and deeply rooted in the blues. The blues sound is rich and emotional, often with a slower, more expressive vibrato. Go listen to Preservation Hall with Sweet Emma Barrett, and you’ll get a clear sense of Humphrey’s style.

The last player I’ll mention is Pete Fountain. He came into the scene later and was a prominent figure from the 1950s up until his passing in the 2016. When you listen to Pete Fountain, it’s clear he was influenced by bebop, and his tone is very classical—smooth, clear, and swinging, similar to Benny Goodman. Personally, Pete Fountain has my favorite tone of any Dixieland clarinetist.

In my opinion, an ideal tone might be a mix of all three: the tuning and clarity of Fountain, the expressive vibrato of Bechet, and the bluesy soul of Humphrey.

Take time to listen and decide which sound you’d like to imitate. This is a crucial step, because your tone concept will directly shape the way you approach the exercises and practice tips coming up next.