Clarinet

Billy Kretchmer owned a popular Philadelphia club which was a destination for established and aspiring jazz musicians. He was also a clarinetist who led the house band. After health problems forced him to stop playing, Kretchmer closed the club in the 1960s. After several surgeries, he will perform again for the first time in 17 years.

Clarinetist Kenny Davern takes a lot of inspiration from the small jazz bands of the 1920s and 1930s, although he has worked in contemporary and avant-garde jazz. Davern started playing professionally in the 1950s and has worked with many jazz legends. In the 1970s he played soprano saxophone with Bob Wilbur in the group Soprano Summit. He now plays clarinet exclusively. Davern is in town to perform, and joins the show to discuss his distaste for "Dixie Land" music, his musical influences, and career in jazz.

In order to develop a sizable repertoire as an orchestral soloist, Soltzman has had to transcribe several classical pieces written for other instruments.

Richard Stoltzman is a clarinet virtuoso. He was the first solo clarinetist to be presented in Carnegie Hall in 1982. Stoltzman is known for his unusual concerts, incorporating jazz and wearing informal clothing. He joins the show to discuss his life and career.

Artie Shaw is a legendary big bandleader and clarinetist. His band was one of the most popular of the 1940s. Since then Shaw has written books, worked as a film producer, and retired from playing. in 1980 he organized a new band to play his works and arrangements.

The jazz musician has spent most of his life on the road. Long after the golden era of the big bands, Herman continues to lead a large ensemble, all the while keeping up with contemporary jazz and pop music.

Jazz critic Francis Davis says John Carter's new album, Dance of the Love Ghosts, is both experimental and structurally sound; each "electrifying" track needs to be heard in its entirety.

Jazz Critic Kevin Whitehead will review a new album by clarinetist Bill Easley, and discuss the apparent resurgence of the instrument.

Jazz clarinetist and alto and soprano saxophonist Bob Wilber. Wilber is also a composer and arranger; He arranged the music for the film "The Cotton Club." And he's just completed his autobiography. It's scheduled for release later this spring and is titled "Music Was Not Enough." This Saturday, Wilber will lead a tribute at Carnegie Hall to the late Benny Goodman, the king of the jazz clarinet. It's the 50th anniversary of Goodman's famed concert there.

A live concert with Kenny Davern, one of the greatest living clarinetist playing traditional jazz. Davern will perform with guitarist Howard Alden and bassist Phil Flanigan.

Jazz critic Kevin Whitehead reviews the new album "Whatever Next!," from Wally Fawkes and his Soho Shakers. Fawkes is an English clarinetist who has been a part of the British traditional jazz scene since its beginnings in the 1940s.

Jazz Critic Kevin Whitehead reviews "Bayou Magic," a new album by clarinetist Alvin Batiste. Since the 50s, Batiste has been a key figure in the modern jazz movement in New Orleans. Under the auspices of the State Department, he has toured the world extensively, and is also a teacher at Southern University in Baton Rouge, where his students have included Branford Marsalis and Donald Harrison.

Jazz composer/clarinetist John Carter. He has just completed a five part music series chronicling the black migration experience from Africa to America: "Roots and Folklore: Episodes in the Development of American Folk Music. The final program in the series, "Shadows on A Wall," premiered recently as part of the New Wave Festival at the Brooklyn Academy of Music. The festival celebrates performers working on the edge of classical, rock, and jazz styles. Carter's performances are also out on disc.

Jazz critic Kevin Whitehead reviews clarinetist John Carter's new album, "Shadows on a Wall." The album concludes Carter's 5 album musical saga of the African-American experience. Kevin says the series doesn't recreate history, but it DOES reimagine it.

Clarinetist Don Byron. Byron's black, but he plays klezmer, the music created from the mixture of American jazz and European jewish culture. Byron's an alumnus of the Klezmer Conservatory Band, and he performs on a new anthology album called "Live At The Knitting Factory." It's on A&M records.

Clarinetist, jazz musician, and klezmer virtuoso Don Byron. He's an unlikely candidate to play klezmer, a product of Eastern European Yiddish culture: Byron is African American and dreadlocked. Byron has become best known for klezmer, but musically he's all over the map: He plays jazz with his Don Byron Quintet, modern classical music with the Semaphore quintet, and he toured Europe last fall with Music for Six Musicians, an Afro-Cuban ensemble. He's also currently writing a classical piece for the avant-garde Kronos Quartet.

Jazz critic Kevin Whitehead reviews "You Must Believe in Swing" (Concord Jazz) featuring pianist Dave McKenna and clarinetist Buddy De Franco.

Clarinetist Ken Peplowski. The 40-year old jazz musician, has been playing the instrument since the age of 7, and went on to play in Benny Goodman's last band, and in the Tommy Dorsey Orchestra (led by Buddy Morrow). Peplowski influences include Goodman, saxophonist Sonny Stitt, the Beatles, and Ornette Coleman He launched a successful solo career in the early 1980s and now has 16 albums to his credit. His latest is "Ken Peplowski: Last Swing of the Century-Big Band Music of Benny Goodman" (Concord Jazz).

Jazz critic Kevin Whitehead reviews Dogmental (GM label), the new CD by the Andy Biskin Quintet.

Jazz clarinetist Andy Biskin. His latest CD is “Dogmental,” (GM Recordings) by the Andy Biskin Quintet. Biskin is also a composer. He grew up in San Antonio, Texas and is now based in Manhattan.