56 rue Lepic - Paris. Where jazz is not just a legend. - vandoren

56 rue Lepic - Paris. Where jazz is not just a legend.
Vandojazz®

ANNONCE VANDO 3 BEC V16 us+métal 10/01/07 15:37 Page 1
The new jazz standard
Every once in a great while something comes along that turns expectations upside
down, redefines how you approach things and sets a new standard for everyone
else. It’s happened again – there’s a new standard in jazz saxophone mouthpieces.
Introducing the new mouthpieces from Vandoren. These extraordinary
mouthpieces combine the rich sounds of mouthpieces from the 50’s and 60’s with
the precise articulation, dead-on intonation and lightning response that you expect
from Vandoren. Play one and you’ll see what we mean.
The standard has been raised. Vandoren – the new jazz standard.
www.vandoren.com

®
Director of publication: Anne-Sophie Vandoren -
Creation and realization: La Maison, 16 rue de Naples
75008 Paris - Telephone: 01 44 90 02 20. Email: christophe@la-maison.net
- Photos: © All rights reserved:
Vandoren - Registration of copyright: January 2007
news
OUTSET…
THE
editorial
BY ANNE-SOPHIE NAN DOREN
As organization of the 50th
Vandojam gets underway, we
can only rejoice in the success
of this event. Exported a year
ago to New York and
Chicago, Vandojam has become
a top class jazz
venue. This is why we have decided
to dedicate this Vandojazz edition to
our activity in America and,
more especially, in that
other jazz capital, New
York. These few pages offer
a brief history of the
Musicianís Advisory studio,
created 13 years ago and now
directed by David Gould.
Considered as one of the pillars
of the Vandoren organization,
a crossroads of current trends
and a meeting-place for musicians, the studio is
essential to product research and development.
But more than simply detailing this activity, we also wanted
to take the temperature of the musical big apple and
its actors. So we have put together a mosaic of concise
interviews, capturing the essence of musicians as talented VandojazzFROM
and original as each other, musicians who all embody the
spirit of New York. Among them, top artist Mark Gross,
director of the Vandojams, who invites these musicians
regularly to join him and his group on the stage of the
Iguana, the Mexican restaurant located just above the stu-
dio (our point of departure). Though ambitious in scope
(describing the New York jazz scene is no mean feat) this
number still has a rather informal, homely feel.
3
NEW
RELEASES
Vandoren is always on the go,
living and breathing music’ Scores
and CDs of every kind of music
await you there, from classical to
jazz, klezmer to contemporary.
Among the most recent jazz and
improvised music CDs in stock
over the last few months, we
feature clarinetists like Jean-Marc
Foltz, Sylvain Kassap or
Christophe Rocher; saxophonists
with styles as varied as Jean-
Christophe Beney,
Sébastien Jarrousse,
Philippe Bourdin, Eric
Plandé, Sylvain Del
Campo or Christophe
Monniot… Without forgetting
the last CD of
Vandojam MC Michael
Cheret (« Serious
things »). For a complete
CD list or any
other information,
please send an email
to Jean-Marie Paul:
jmpaul@vandoren.fr
IN MEMORIAM
Jackie McLean passed away on
March 31st, 2006. A student of
notably Bud Powell, a great inspiration
to him, he played with
Charlie Parker, Sonny Rollins,
Thelonious Monk and Miles
Davis. In the mid sixties, he colored
his hard bop with free jazz.
Very involved in youth education
from 1968 on, he taught jazz and
Afro-American music history at
Hartford University. And, lest we
forget, the more recent disappearance
of Charles Luter at the
age of 83. An emblem of New
Orleans in France and the jazz
clubs of Saint-Germain, he played
with the greatest: Barney Bigard,
Sydney Bechet and Louis
Armstrong.

Vandoren
New-York

Vandojams have been part of the New York and Chicago scene for two years
already. Here ís the occasion for their leaders, Mark Gross and Michael
Skinner, to present them to us • A new Vandoren club in New York: the Iguana,
ideally located right beside our studio run by David Gould, always ready to welcome
you • A presentation of the IAJE and its annual conference • Plus a few
favorite Vandoren artists and friends we wish to salute in passing for this
third Vandojazz edition!
The Vandoren
Musician’s
Advisory Studio
Since its creation 13 years ago, the Vandoren Musicianís
Advisory Studio has been the axis of our jazz presence in New
York and an invaluable asset to all its visitors, professional
musicians, amateurs, teachers and students alike. The ideal
solution for customers keen to try out and compare our
whole range of reeds, mouthpieces, accessories and ligatures,
this mini « 56 rue Lepic », located in the heart of Manhattan,
caters for both classical and jazz musicians. These continual
encounters have triggered the research and development of
the great majority of Vandoren products now played throughout
the world. And in its own way, the showroom has been helping to launch musical careers for over a
decade now. Artistic advisor David Gould says the Vandoren showroomís being above all a place of
encounter and exchange, is based on the firmís being a front runner in music and jazz for over a century.
Mark Brown in the company of David Gould, artistic
advisor and specialist of Vandoren products in New York
since 1999.
VANDOREN NEW-YORK
The showroom displays every type of mouthpiece and reed for saxophone and clarinet. To try
them out, call David at 212-399-9457 or contact him at : dgould@vandorenusa.com
5
Vandoren in the US
since 1928.
Robert Van Doren, the son of
Eugène, studied the clarinet, graduating
with a Premier Prix from
the Paris Conservatoire.
Embarking on a musical career, he
went, in 1928, for a year on tour to
the United States where he made a
name for himself. He was one of
the first French clarinetists to play
as a soloist at Radio-City, the
famous New York radio station.
This was Americaís initial contact
with Vandoren reeds, leading to a
popularity rising ever since with
professionals of the New World.
Our address in New York: 250 W. 54th Street.
Discover our showroom and the Iguana, the club
hosting the New York Vandojam for a few months
now. A new jazz venue in New York…

Mark Gross Former
with Lionel Hampton’s orchestra, Mark honors us by directing the New York
Vandojam, for the greater « swing » pleasure of one and all.
MARK GROSS HAS BEEN DIRECTOR OF THE NEW YORK VANDJAM
FOR TWO YEARS NOW. BUT LET’S GO BACK A LITTLE… AFTER
CLASSICAL TRAINING AT THE BALTIMORE SCHOOL FOR THE ARTS, MARK
STUDIED FOR A SEMESTER AT HOWARD UNIVERSITY AND THEN FOR
FOUR YEARS AT THE BERKLEE COLLEGE OF MUSIC FROM WHERE HE
GRADUATED WITH A BACHELOR OF ARTS IN MUSIC PERFORMANCE.
TWO OF BERKLEE’S BEST PROFESSORS, JOE VIOLA AND BILL PIERCE,
WERE TO BE PARTICULARLY INFLUENTIAL IN DEVELOPING MARK’S FINE
MUSICIANSHIP. AFTER HIS DEGREE, IN 1988, MARK SET OUT ON HIS
CARAVAN AS A PROFESSIONAL JAZZ MUSICIAN. MARK CREDITS HIS PRO-
LIFIC SOUND TO THE LOVE OF GOSPEL THAT FILLED HIS PARENT’Í
BALTIMORE HOME DURING HIS UPBRINGING. HIS NEW CD, THE
GOSPEL ACCORDING TO MARK, IS A CELEBRATION OF THESE ROOTS.
MARKÍS FATHER IS STILL PASTOR OF HIS HOMETOWN CHURCH, MT
ZION C.O.G.I.C. HIS PROFESSIONALISM HAD HIM RAPIDLY PERFOR-
MING AND RECORDING WITH FELLOW PACESETTERS IN JAZZ MUSIC.
TOURING FREQUENTLY, HE HAS PLAYED ALL OVER THE WORLD, NOTA-
BLY WITH THE DUKE ELLINGTON ORCHESTRA, PHILIP HARPER, NAT
ADDERLEY, DAVE HOLLAND, MULGREW MILLER, NICHOLAS PAYTON,
DELFEAYO MARSALIS, WYNTON MARSALIS, DIZZY GILLESPIE, NANCY
WILSON, JIMMY HEATH, THE DIZZY GILLESPIE ALL STAR BIG BAND,
THE TOM HARREL BIG BAND, FRANK FOSTER AND THE LOUD
MINORITY, FREDDIE HUBBARD, DONALD HARRISON, MARK
WHITFIELD, JOE DUKES, JACK MCDUFF, JOE CHAMBERS, NEAL SMITH,
REGINA CARTER, LIONEL HAMPTON, STEPHEN HARRIS, DON BRADEN,
VINCENT GARDNER, LENORA ‘ZENALAI’ HELM, MARLON SAUNDERS,
SEPIA, JANN PARKER AND THE MARK GROSS QUARTET, TO NAME A FEW.
THE WINNER OF TWO GRAMMY AWARDS, MARK GROSS HAS RECORDED
OVER 40 ALBUMS, INCLUDING TWO UNDER HIS OWN NAME, « PREACH »
(KING RECORDS) AND RIDDLE OF THE SPHINX (J CURVE RECORDS).
6
Mark, now that you’re looking
after the New York
Vandojams, what do you
remember of your own
first jam sessions in the
early days?
Amazing memories! I made my
debut in Baltimore, Gary Bartz
country and now that of Gary
Thomas, Antonio Hart and…
Mark Gross. While I was still at
university, jams used to scare me
but they were fantastic. Musicians
like Arnold Sterling, Andy Ennis
and Michael Fields used to play
everywhere in Baltimore. They
had a regular jam session in a club
called The Sportsmanís Lounge.
Going to this club was like going
back in time. Like in those old
films with everyone smoking,
dressed up to the nines, fans in the
front row, others in the back of
the club talking away, and a group
swinging for all it was worth.
I used to hang out in the front row
with my brother Vincent, a trumpet-player,
and sometimes the
club-owner would invite us to join
the group: that was pretty scary!
saxophonist
Now I have great respect for
musicians who have to play every
night. Those guys were such great
performers! At the time I didnít
realize they were teaching me
everything about playing in a
group. This was my real school,
the definitive one. The songs we
used to play together: Sugar, Song
for my father, along with loads of
other blues. You canít imagine
how great it was to play with my
idols! And they used to let me and
my brother play nearly all night
with them. Thatís where I learnt
jazz vocab, playing standards with
them. No sooner home, I would
be rushing to look for the recorded
versions in my own collection!
What do you go for when
you’re in charge of a jam
session?
I first try to create a swinging
atmosphere, for everyone. Not
just for the musicians, but also for
the public. You build up a public
through what you give them.
I want the jam, and the way the
music is presented, to do justice

to both the musicians and the
music being played. Then I think
of Louis Armstrong, Duke
Ellington, Count Basie, Thelonius
Monk, Charles Mingus, Charlie
Parker, Dizzy Gillespie, John
Coltrane, Stan Getz, Lee Konitz,
Ornette Coleman, Sarah Vaughan,
Julian ëCannonballí Adderley, etc.,
and I think: always keep it interesting,
never let the music drop. In
New York, we are lucky enough
to have so many great musicians
coming to the club, that a fourhour
jam is really four hours of
jazz. Sometimes, to let a certain
musician play, I organize the jam
according to tonalities, instruments
and styles… At the last
Vandojam, for example, we had
every saxophone model on
Cherokee. It was fantastic, from
soprano to bass, all played by
Scott Robinson. Thatís one of the
amazing things about New York.
I also want to give everyone time
to jam, so rarely impose time
limits like on the number of choruses,
etc. Sometimes I do have to
give a little sign though… But the
rhythmic section is so courteous.
Special thanks to Chris Brown on
drums, David Berkman on piano
and Tom Dicarlo or Belden
Bullock on bass.
Is this your first jam?
No. In the beginning of the 90s,
I ran a jam for two years in a club
on the East side of New York.
What do you think about
the current New York jazz
scene?
Very interesting. Iíve been in New
York now for 17 years and the city
has changed considerably. Before,
it was more active. Now there are
less clubs and those greats who
would have been in a position to
ìeducateî the young, have passed
away. There are fine schools like
Julliard, the new School or the
Manhattan School, but clubs are
far too expensive for the budget
of these young beginners. You
have to pay for each set and thereís
a minimum drink policy. Even
so, most clubs are full, despite
excessive prices.
Is it hard to play in New
York?
Once I had made a name for
myself in jazz, there were no problems,
but getting started was
tough. But then, it is hard for kids
just out of school.
A funny story, an anecdote?
It was in the beginning of my
career. I was accompanying Lionel
Hampton. My fee, for 90 minutes
playing, didnít warrant a second
more. But at the end of the set,
Lionel just kept on playing, we
VANDOREN NEW-YORK
couldnít stop him, we tried to tell
him but there was nothing to do,
he just kept on playing. Then, to
try and bring him down to earth,
they closed the curtain, but he just
opened it by hand and kept on
playing. One day, at the Meridien
in Paris, the fire alarm went off
and he kept on playing like a madman!
Oh, one day I was playing in
New York at John Jay College: I
prepare everything in the morning,
leave home for the concert,
get into Manhattan, park the car at
the garage, grab my saxophone
case, go into the dressing room,
open the case, and find…no sax
inside! That was a long time ago!
FAVORITE ACCESSORIES: SOPRANO
SAX : MOUTHPIECES S35, V16 S8 - REEDS
JAVA 2.5 - LIGATURE IN LEATHER / ALTO
SAX : V16 A8S -REEDS JAVA 2.5 - LIGATURE
IN LEATHER / TENOR SAX : T95 V16 - REEDS
JAVA 2.5 - LIGATURE OPTIMUM
A brief history of
the Vandojam
in the United States
After being originally based
from Autumn 2004 at the
highly electronic club The Knitting
Factory, the Vandojam and its leader
Mark gross have now moved
to the Iguana. This restaurant, just
below the Vandoren showroom
run by David Gould, was to quickly
prove ideal for the monthly event.
And great for Vandoren, to be
able to have a meeting-place for
jazz musicians and an outlet for
their select products at the same
address. If you are interested in
participating in the New York
Vandojams, call David on
212-399-9457 or email him at:
dgould@vandoren.com

Victor Goines
Born in 1961 in New Orleans, Victor
Goines began to study clarinet at
the age of 8 and, very soon after, saxophone
with Carl Blouin at St. Augustine
High School. In 1980, he went to study
clarinet and saxophone at the
University of Loyola, majoring in 1984
with a Bachelor of Music Education.
From 1983 on, Victor studied privately
with Ellis Marsalis, joining his teacher’s
quartet 8 months later. He left New
Orleans in 1987 to continue studies at
Virginia Commonwealth University
(Richmond), graduating in 1990 with a
Masters in Music. Today Victor Goines
is the first artistic director of jazz at the
Julliard School in New York, conductor
of the Julliard Jazz Orchestra and a
member of the Julliard jazz faculty. He
has been a pedagogical consultant at
the Lincoln Center and given masterclasses
in many prestigious schools: the
Denver School of the Arts, the John
Schreiber Group, the Greater New
Orleans Suzuki Foundation, Cornell
University, the Columbus Youth Jazz
Ensemble, Scranton University, etc. Totally committed to jazz pedagogy, he offers each of
his students the opportunity to explore all facets of American jazz. Victor Goines is also
recognized as a distinguished musician and composer. He has played notably with Ray
Charles, Diana Krall, Delfeayo Marsalis, the Wycliffe Gordon Quintet, Branford Marsalis, the
Smithsonian Masterworks Orchestra, Bob Dylan, Stevie Wonder, Garth Fagin, RenÉe
Fleming, the Herlin Riley Quintet, Mark O’Connor, Terence Blanchard, Bobby Watson,
Diana Ross, Marian McPartland, Ruth Brown, Dizzy Gillespie, Nancy Wilson, Paquito
D’Rivera, James Taylor, Lionel Hampton, Harry Connick, Jr, Dianne Reeves, Don Vappie and
the Creole Jazz Serenaders, Dee Dee Bridgewater, Irma Thomas, Marcia Ball, Bo Diddley,
Freddie Hubbard, James Moody, Damon Short, Freddie Green and the George French Trio.
Bruce Williams
VANDOREN NEW-YORK
BRUCE WILLIAMS WAS
BORN AND BRED IN
WASHINGTON, D.C. HE
BEGAN TO PLAY ALTO SAXO-
PHONE AT THE AGE OF 12,
INSPIRED BY HIS ELDER BRO-
THER ANTHONY WHO PLAYED THE
TENOR SAX. VERY QUICKLY, BRUCE
SHOWED HIMSELF TO BE A TALENTED
IMPROVISER. AFTER PERFORMING IN
SEVERAL GROUPS AT SCHOOL, AND
WINNING SEVERAL AWARDS FOR HIS
SOLO PLAYING, HE GOT A SCHOLARSHIP
TO STUDY JAZZ AT COLUMBIA
UNIVERSITY, TRANSFERRING TWO YEARS
LATER TO WILLIAM PATERSON COLLEGE
IN WAYNE, NJ. HE STUDIED WITH
STEVE WILSON, RUFUS REID, GARY
SMULYAN, WILLIAM SHATEL AND JOE LOVANO. HE WAS ENGAGED TO PLAY IN THE BANDS OF LIONEL
HAMPTON AND MCCOY TYNER. JAMMING EVERYWHERE IN NEW YORK FOR NIGHTS ON END, BRUCE
WILLIAMS WAS SOON SEEN AS PART OF A NEW WAVE THAT INCLUDED RUSSELL GUNN, GREG TARDY,
STANLEY COWELL, T. S. MONK, FRANK FOSTER, CECIL BROOKS III, LITTLE JIMMY SCOTT, THE
WORLD SAXOPHONE QUARTET, THE COUNT BASIE ORCHESTRA AND ROY HARGROVE. THE WINNER
OF TWO GRAMMY AWARDS, BRUCE IS CONTINUALLY PLAYING ALL OVER THE WORLD, NOTABLY WITH
BEN RIELY’S MONK LEGACY SEPTET AND ROY HARGROVE’S RH FACTOR. HE LEADS THREE BANDS
UNDER HIS OWN NAME AND HAS APPEARED ON OVER TWENTY RECORDINGS, THREE OF WHICH WERE
AS A SOLOIST. HIS LATEST CD « MORE TO GO » IS RELEASED ON HIS OWN LABEL: BRUSHWOOD.
8
Who has most influenced you in your
career?
All the legendary figures like Coleman Hawkins,
Lester Young, Louis Armstrong, Ben Webster, Sonny
Rollins, John Coltrane, Miles Davis, Clifford Brown
and on and on. They’re the ones who defined what
jazz is and what jazz musicians are all about.
As an teacher, what do you think is the
greatest responsibility you have to your
students?
Being honest with them and totally dedicated to the
whole pedagogical process. I also feel I have an obligation
to help my students explore jazz from A to Z.
How do you manage to keep up your
playing standard on so many different
instruments with such a tight schedule?
I have several methods. Maybe one time I will choose
to work on straight technique, at another time, on
sound quality. The most important thing for a young
musician is to realize that consistency and regular
practice are essential to progress. In the long run,
the standard of your playing is directly related to the
work you put in. It’s up to you!
FAVORITE ACCESSORIES: CLARINET IN Eb : TRADITIONAL N°3
REEDS / BASS CLARINET: B45 MOUTHPIECE - TRADITIONAL N°2.5
REEDS / CLARINET IN Bb: TRADITIONAL N°3.5 REEDS / SOPRANO
SAX: S25/35 MOUTHPIECE / TRADITIONAL N°3 REEDS / ALTO SAX :
V16 N°2.5 REEDS / TENOR SAX : T75 JAVA MOUTHPIECE - V16 N° 3
REEDS
Why is jazz such a tough business?
First of all, because jazz has such a limited public…
It takes years to build up a real following. You have
to go to Europe and Asia, get known internationally,
before really becoming a big name in the States,
even if you’re playing serious gigs with big stars.
There’s no lack of talent, in every field, from hard
bop, to traditional or avant-garde ! I really do think
that jazz is the hardest music to play.
How would you define your playing?
My playing is based on rhythm and a good ear for
harmony. I see myself as a kind of painter. I try to go
places in the music, I love interacting with the piano
harmonies. I guess what I love most of all is the
musical dialogue.
If you could have been there for one
great moment in jazz history?
I’d choose when John Coltrane composed « A Love
Supreme ». How incredible to see him go so deep
inside himself, and bring out such a piece.
FAVORITE ACCESSORIES: CLARINET : MOUTHPIECE 845 LYRE -
TRADITIONAL REEDS OR V.12 N°3 OR 56 RUE LEPIC N°3,5 / ALTO
SAX : MOUTHPIECES V16 A9S, A8S AND OPTIMUM AL4 - REEDS V16
N°3 / TENOR SAX : MOUTHPIECE V16 T35, REEDS JAVA AND ZZ
N°3 AND N°3.5 / SOPRANO SAX : TRADITIONAL REEDS N°3

Benny Reid
BENNY REID WAS BORN AND BRED IN
THE HEART OF THE MULTICULTURAL
TOWN OF WESTFIELD NJ. HE BEGAN TO
PLAY ALTO SAXOPHONE AT THE AGE OF 7,
AND WAS QUICKLY LISTENING TO THE GREAT
JAZZ CLASSICS. AT THE SAME TIME, HE WAS
TRANSCRIBING AND RAPIDLY PICKING UP THE
BASICS OF JAZZ LANGUAGE. AT THE AGE OF
17, BENNY WENT TO THE PRESTIGIOUS
UNIVERSITY OF INDIANA AND SOON BECAME A JAZZ FIGURE ON THE CAMPUS.
ON GRADUATING, BENNY BECAME ONE OF THE MOST HIGHLY DEMANDED
SAXOPHONISTS IN JAZZ CLUBS IN THE MIDWEST. HE CAN BE SEEN THROU-
GHOUT THE COUNTRY, NOTABLY IN NEW YORK CLUBS, WITH HIS OWN BAND.
HIS FIRST ALBUM « FINDINGS » WILL BE RELEASED THIS WINTER ON CONCORD
RECORDS.
Benny, as a young musician, how did you break into
the jazz business?
Right from university, I was always playing in public or going out to hear
my favorite musicians. That helped form my musical ear and my network.
At Indiana, I was combining gigs with formal training, so I had a chance to
quickly make a name for myself on the jazz scene. I also had some lucky
breaks in recent years, performing with Winard Harper, Eric Reed or the
Chico O’Farrill Orchestra. They helped me progress yet allowed me to
stay true to myself.
What are your goals?
I am happy that I am achieving the main objectives I set myself, but of
course I want to go further, to develop myself though my own music, my
playing and my performances.
Who were you most influenced by musically?
I have had so many idols that I admire, but today my main references
are Pat Metheny, Charlie Parker, Sonny Rollins, Stan Getz, Sonny Stitt,
Cannonball Adderley, John Coltrane, Paul Desmond, Wayne Shorter,
Herbie Hancock, Joe Henderson and Eric Alexander.
FAVORITE ACCESSORIES: MOUTHPIECE V16 - REEDS JAVA 3S
A week in New York
he legend is
Tconfirmed: New
York is well and truly
the jazz capital of the
world. Paris, in my
opinion, is a close runner-up.
But NY has
more clubs, small or
large, legendary or
underground. The
first big difference
with Paris, the one
you can’t help noticing
on every street-corner, is that
over there, jazz fits naturally into everyone’s
culture (though it must be
losing a bit of ground for, to my great
surprise, it was impossible for the taxidriver
bringing me to Manhattan from
the airport, to find a jazz station on the
radio), whereas in Paris, jazz is like
some art object for connoisseurs. How
exhilarating to hear Coltrane blaring
onto the sidewalk from the speakers of
a music shop one morning around 9
a.m. as I was strolling around 48th.
New Yorkers like listening to this
music; they play it collectively at school
(the big-band in college…); they know
what makes it tick. As audiences, both
interested and interesting, they are
motivating and more likely to appreciate
risk-taking than comfort-zone
playing. New Yorkers are also a vid
club-goers, respect jazz and its performers,
and find it normal to pay (sometimes
quite a lot: from 8 euros to 35
euros a set) to listen. In France we like
jazz most when you don’t have to pay
for it! It’s not part of our national culture
yet to pay for this music… And
how often does a musician hear: « But
what do you do for a real living? » Is
this the consequence of a fairly generalized
phenomenon in France where
amateurism is encouraged (associations
are formed like wild fire) more
than helping professionals? The other
amazing draw about New York is the
programming in clubs. Most of the
great jazz names actually live there
and go clubbing to try out their projects,
have a jam, take a few risks,
making for the kind of line-ups
unheard of in Europe. My best evening
out had to have been the night that
began at Blue Note with a concert of
Gil Goldstein with Richard Bona, Don
Alias, Randy Brecker, Chris Poster, a
string trio and Bobby McFerrin pop-
Jason Marshall
JASON MARSHALL ARRIVED IN NEW
YORK IN 2003. FOND OF DIFFE-
RENT MUSICAL STYLES VERY EARLY
ON, JASON DEVELOPED AN ATYPICAL
STYLE, VERY AFRO-AMERICAN.
INFLUENCED BY LEO PARKER, NICK
BRIGNOLA AND BRUCE JOHNSTONE,
HE HAS NO PRECONCEPTIONS
ABOUT THE BARITONE SAX. JASON
STUDIED WITH THE BEST 20TH CEN-
TURY BARITONE SAXOPHONISTS,
ARTISTS LIKE HAMIETT BLUIETT,
RONNIE CUBER AND GARY
SMULYAN. HE PARTICULARLY PRAISES
THE TEACHING OF LORENZ
WHEATLEY. JASON PLAYS WITH THE
THAD WILSON JAZZ ORCHESTRA AND BLUES-MAN ROY GAINES. HE CUR-
RENTLY TOURS WITH ROY HARGROVE’S BAND, RH FACTOR, AND BLUES STAR
JAMES HUNTER. HIS OWN BAND « OVER NEGRITUDE » IS NOW PREPARING
THEIR DEBUT ALBUM.
How did you discover jazz?
As an Afro-American, my black culture is not just something to affirm,
it’s a fact of life. I saw jazz as the facet of black culture that most spoke
to me.
How do you practice to improve?
I spent a long time looking for the ideal combination on the baritone sax
between soul music and bebop. I also do a lot of scales and arpeggios, etc.
And often work in the utmost register to try and cut through all the cliches
surrounding the baritone sax.
When did you first realize you were a musician?
When I joined Roy Hargrove’s band in April 2005.
FAVORITE ACCESSORIES: SOPRANO SAX : S35 MOUTHPIECE AND N°2,5 TRADITIONAL REEDS
/ TENOR SAX : V16 AND T95 MOUTHPIECE, AND N°2.5 JAVA REEDS / BARYTON SAX : B95
MOUTHPIECE AND ZZ N°3 REEDS / CLARINET: 5JB MOUTHPIECE AND 56 RUE LEPIC N°3
REEDS / BASS CLARINETTE : B46 MOUTHPIECE
par Michaël Cheret
ping in for a jam. Followed by the latenight-hour
jazz-buff scene in smaller,
more underground clubs where you
can hear excellent musicians, often
completely unknown in Europe,
playing 4 or 5 sets (a different group
for each set) that start rolling at 1.30 in
the morning! And finally came the
moment I’d been waiting for and the
reason for my visit to NY: the
Vandojam at The Knitting Factory, a
homage to Cannonball Adderley where
I was the guest of Mark Gross and his
trio. It took a while to break the ice,
but once the music began, it was all
smiles on the faces of my « brothers »,
encouragement and enthusiasm like I
never felt from French musicians. New
York musicians keep cool before they
know whether you can « play » or not.
Music speaks for everything, even their
socializing… a shame perhaps!
Another striking difference: the relationship
between the leader and the
rest of the group: the rhythmic section
is totally at the bid and call of the
soloist, following him wherever he
wants to go without ever taking the
initiative. I love this way of working.
And what a buzz to play with musi-
cians who really know this Afro-
American music of the sixties: the
spirit, the intros, the codas, the counter-melodies,
everything was there.
The jam of the 2nd set was no disappointment
either, with some cool
discoveries on my part: Jason Marshall
on the baritone ( who has since then
come to jam at the Sunset Vandojam in
June) and Anat Cohen, a fabulous
musician, clarinetist and saxophonist.
Mark Gross is a big specialist of
Cannonball and directs his New York
Vandojam in a relaxed, humorous way.:
what class! The NY Vandojam began
again in September at the Iguana, on
54th , just beside Vandoren. The Paris
one began again in October, taking
place, like last year, every 1st Tuesday
of the month at the Sunset.
For the next Vandojams,
consult our website:
www.vandojazz.com
Hoping to see you all again for a jam
season as much fun as last year.
Cheers
Michaël CHERET

A
WALTER BLANDING WAS BORN ON
AUGUST 14TH, 1971 IN CLEVELAND,
OHIO TO A MUSICAL FAMILY AND BEGAN
PLAYING SAXOPHONE AT THE AGE OF SIX. HE
STUDIED AT LAGUARDIA HIGH SCHOOL,
THEN AT THE NEW SCHOOL FOR SOCIAL
RESEARCH, GRADUATING IN MAY 2005. HIS
DEBUT ON “TOUGH YOUNG TENORSÎ, ONE
OF THE BEST JAZZ ALBUMS OF 1991, WAS
HIGHLY ACCLAIMED. SINCE, HE HAS PLAYED
AND RECORDED WITH GREAT JAZZ NAMES
LIKE THE CAB COLLOWAY ORCHESTRA, ROY
HARGROVE, THE COUNT BASIE ORCHESTRA,
TONY BENNET, THE ILLINOIS JACQUET BIG
BAND, DIANNA ROSS, WYCLIFFE GORDON,
LIZA MINELLI, MARCUS ROBERTS, WYNTON
MARSALIS, AND MANY OTHERS. HE TEACHES
IN HIS OWN SCHOOL IN TEL AVIV, EXPOR-
TING HIS TEACHING THROUGHOUT THE
WORLD. HE IS CURRENTLY A MEMBER OF THE
JAZZ AT LINCOLN CENTER ORCHESTRA AND
THE WYNTON MARSALIS QUINTET.
Walter Blanding
Michael, you are with your company DANSR the
new importer since 2004 of Vandoren products
to the United States. What kind of relationship do
you have with your musician clients?
Established in Chicago, our principal mission is to distribute
Vandoren products and allow artists and clients to discover and
understand them. And eventually help them to get into the
« Vandoren » community in the United States.
How do you go about this?
We have created an American website www.vandojazzusa.com
giving information about Vandoren products and our sales network,
along with concert information, technical advice, links to
other Vandoren artists and announcements of the Vandojams in
the United States.
And so tell me about the Chicago Vandojams, the
ones you’re closest to.
It’s an extension along the same lines as Paris and New York. The
jam now takes place in a jazz club that has been well-known
venue for 30 years: the Velvet Lounge. Everyone knows the
place, it’s a superb spot for Vandoren. It takes place here every
last Monday of the month. In Chicago, our jazz is very rich, very
mixed. First of all, there’s a real and very active salsa movement
here, along with a form of post Coltrane, post modern jazz, a
new type of bop that we call the neo-Bop. And in our first jams,
we managed to mix the two, something quite unique in the
world. Both communities mixed and the public loved it! It’s a
really powerful movement that is developing here. Our rhythmic
How did you get into jazz and the saxophone?
Music has been my whole life. My father was a bass-player, my mother, a pianist and
a singer. They had a funk band and were always rehearsing at home. My grandmother
was also a classical pianist, composer and organist, the musical director of several
churches in Cleveland and Atlanta. She also taught music history and theory at
the Cleveland Institute of Music. When we moved to New York in the 80s, we all
began exploring jazz more profoundly.
You currently play in a big ensemble. What are the prerequisites
for good ensemble playing?
Above all, no matter what the size of the ensemble, a musician has to be able to really
listen to the music being played, I mean be totally aware of all the other musicians.
It’s a good combination of attention to musicality, instinct and ability to make musical
decisions that allows a musician to integrate in harmony with other band musicians.
That’s the key to success. That’s what the musicians and the public will thank
you for.
You have played all over the world. What are you favorite spots?
I never really realized how lucky I was to be able to travel around the world thanks
to music. My favorite places, apart from New York, are Italy, Japan, Australia,
Malaysia, Singapore, South America. My favorite venues: Dizzy’s Coca-Cola Club,
the Village Vanguard, Frederick P. Rose Hall to cite just a few… I don’t mind playing
in different types of venue: concert halls, clubs, schools, churches, in private
homes… What I most prefer is intimacy between the musicians and the public.
FAVORITE ACCESSORIES: V16 MOUTHPIECE - JAVA 3 REEDS
Michael
Skinner
MEETING WITH MICHAEL SKINNER AT VANDOREN, RUE LEPIC. A CHANCE TO GET TO KNOW MORE ABOUT THE VANDOJAMS
IN CHICAGO, HEADQUARTERS OF THE LATEST IMPORTER OF THE LABEL TO THE UNITED STATES TWO YEARS AGO.
section is composed of Ernest Dawkins, Mark Colby on saxophone,
Avreeayl Rah on drums, Larry Gray on bass and Vjay
Tellis-Nayak on piano.
How do you organize contacting musicians in
Chicago?
We actually also have a studio like in New York so that musicians can
come hear the « Vandoren » sound and try out products if they wish
to. They need to get in touch with Steve Baughman, our studio
manager.
You have just released a first Vandojam artist
CD? Tell me about it?
So many artists come here to Chicago to record their albums, it’s
a good market to exploit. We thought a CD of artists playing
Vandoren would help us expand our network and clientele. We
plan to bring one out every year. This one combines 6 French and
6 American musicians. It’s excellent!
What are your other projects?
We are not considering developing the Vandojam concept elsewhere
than in New York and Chicago, because it needs the implantation
of a parallel outlet where clients can try out products.
Which is today not the case in Los Angeles or Miami. What’s
more, Los Angeles is so big, you’d have to have four Vandojams!
On the other hand, we are thinking to invite university professors
to come and run a Vandojam from time to time. It would be great
for their students and I’m sure they would enjoy it!

Julius Tolentino
BORN IN BLOOMFIELD, NJ, JULIUS BEGAN TO STUDY PIANO
AT THE AGE OF 7, THEN THE CLARINET AT 10. HE FINALLY
BEGAN THE SAXOPHONE AT 13, THE INSTRUMENT ON WHICH
HE WAS TO REALLY GET INTO JAZZ. DURING HIS YEARS AT UNI-
VERSITY, HE PERFORMED THROUGHOUT THE STATE WITH LOCAL
BANDS AND WON A DOZEN SOLOIST AWARDS. HE THEN WENT
TO THE HARTT SCHOOL OF MUSIC TO STUDY WITH JACKIE
MCLEAN. IN 1999, JULIUS JOINED THE ILLINOIS JACQUET BIG
BANG FOR A CONCERT TOUR AND RECORDED WITH THEM FOR
5 YEARS. HIS FIRST CD FOR SHARP NINE RECORDS, “JUST THE
BEGINNINGÎ WITH STEVE DAVIS AND JEREMY PELT PLUMMETED
TO 8TH PLACE IN THE JAZZ CHARTS. JULIUS NOW DIRECTS A
WEEKLY THURSDAY JAM SESSION IN NEW YORK AT CLEOPATRA’S
NEEDLE. HE WILL BE PERFORMING ON DECEMBER 9TH AND
10TH IN HOLLYWOOD AT THE CATALINA JAZZ CLUB AS PART
OF THE SECOND FILIPINO FAZZ FESTIVAL. JULIUS TOLENTINO
HAS ALREADY PLAYED WITH THE BIGGEST NAMES IN JAZZ: THE
ILLINOIS JACQUET, ERIC REED, CYRUS CHESTNUT, PHILIP
HARPER, NATALIE COLE, KEVIN MAHOGANY, JEREMY PELT,
LOUIS HAYES, THE COUNT BASIE AND THE DUKE ELLINGTON
ORCHESTRAS.
What have been your most important musical
influences?
Studying with Jackie McLean was the greatest influence on my
musical and personal life. He taught me, like all his students, to
become someone. Not just as a musician but also as a human
being.
How did you start out?
Like many, I caught the music virus early on in life. I remember
hearing when I was young the recordings of Charlie Parker who
affected me deeply. Before finishing my « sophomore » year at
university, I decided during a summer camp that I wanted to
pursue music as a career. My first official gig with the Illinois
Jacquet’s Big Band was an excellent way for me to get into the
jazz world.
You direct a weekly jam session in New York. How
do you run it?
I have been running this jam since 1998, always using the regularity
of the event for programming recordings or exchanging
information. Then, with playing the music of Cannonball’s
Quintet with Louis Hayes, and big jazz names coming to hear
others, things just developed naturally.
FAVORITE ACCESSORIES: V16 MOUTHPIECE - JAVA 3 REEDS - OPTIMUM LIGATURE
VANDOREN NEW-YORK
TK Blue
BLUE WAS BORN IN NEW YORK TO A MOTHER FROM TRINIDAD
TK AND A JAMAICAN FATHER. HE BEGAN MUSIC WITH THE TRUMPET
AT THE AGE OF 8. DURING HIS UNIVERSITY STUDIES, HE PLAYED FLUTE, THEN
TOOK LESSONS WITH BILLY MITCHELL, THE LEGENDARY SAXOPHONIST, AND
MASTERED THE SOPRANO AND THE ALTO SAXOPHONE. HE GRADUATED
WITH A MASTERS IN PEDAGOGY FROM THE TEACHER’S COLLEGE OF
COLUMBIA UNIVERSITY, STUDYING WITH JIMMY HEATH, CHRIS WOODS,
ERNIE WILKINS, FRANK FOSTER, SONNY RED, JIMMY OWENS, THAD JONES,
BILLY TAYLOR, RASHAN ROLAND KIRK, YUSEF LATEF, JOE NEWMAN, BILLY
MITCHELL, PAUL WEST AND REGGIE WORKMAN. BETWEEN 1981 AND
1989, TK BLUE LIVED IN PARIS WITH A STRONG DESIRE TO LINK UP WITH
AFRICAN MUSICIANS LIKE MANU DI BANGO AND XALAM. HE WORKS WITH
THE COMPOSER PIANIST RANDY WESTON AND, SINCE 1990, HAS MANY DIF-
FERENT FACETS: MUSICAL DIRECTOR, ARRANGER, COMPOSER, HE FOUNDED
THE BAND TALA WITH JAMES WEIDMAN. SINCE 2001, APART FROM HIS TEA-
CHING POST AT THE LITCHFIELD JAZZ SUMMER CAMP, HE HAS BEEN PER-
FORMING WITH THE DON BRADEN BIG BAND, JIMMY SCOTT, AND PLAYED
AT A GREAT NUMBER OF FESTIVALS INCLUDING THE PANROYALE JAZZ
FESTIVAL (TRINIDAD), THE NORTH SEA JAZZ FESTIVAL (HOLLAND), THE
LINGANORE WINE JAZZ FESTIVAL (MARYLAND) AND THE CAPE MAY JAZZ
FESTIVAL IN NEW YORK.
Your association with Vandoren dates from a few years
now. How did it come about?
I was in Paris in December 1981. I met Bernard after a concert with
drummer Kenny Clark. He said I should work with Jean-Paul Gauvin at the
Vandoren factory and asked me to come see their latest line of saxophone
mouthpieces. Jean Paul and I quickly became friends and so the story
continues…
In a constantly evolving musical world, how do you manage
to stay at the top and always be working?
Finding new ways into new forms of jazz makes me feel so humble and
grateful to those around me that my first thought is: « how can I be useful
here? ».
You play so many instruments. Which one do you think
is your ultimate voice?
Tough question! Probably the alto saxophone and the flute on which I’ve
spent so many hours working.
MATÉRIEL JOUÉ : TENOR SAX : JUMBO T95 MOUTHPIECE - ZZ N°3,5 REEDS / ALTO SAX : V16
A8 MOUTHPIECE (SMALL CHAMBER) - ZZ N°3,5 REEDS / SOPRANO SAX : V16 S8 - ZZ N°3,5 REEDS

To contact the IAJE:
IAJE
EducationPO Box 724
Manhattan, KS 66505 U.S.A.
info@iaje.org
Phone: (785) 776-8744
Fax: (785) 776-6190
Vandoren, mem
The International Associ
For several years, Vandoren has been a member of the IAJE, an association
with a mission to ensure the development of jazz and its teaching
throughout the world. Presentation of the association and its
next conference, January 10-13, 2007 in New York where Vandoren
will be present as in 2006, next time with the complete V16 mouthpiece
range, including the ebonite soprano and brand new tenor.
The mission of the IAJE and the means at its disposal
The principal mission of the International Association for Jazz Education is to
ensure the continued development of jazz and jazz education throughout the
world, initiating programs which nurture and promote the understanding and
appreciation of jazz and its heritage.
The association assists teachers and practitioners with information and
resources, and plays an active role in organizing all kinds of events at local,
regional, national and international levels. The International Association for Jazz
Education also promotes the application of its jazz principles to the manufacturing
of musical materials and the creation of teaching methods at all levels. It
encourages research, providing financial assistance and advocating the cause of
jazz in every forum.
The IAJE is also committed to informing its public: professional artists or amateurs,
educators, students and the music industry at large.
At their annual international conference in January, the IAJE hosts the presentation
of thirty or so specialized magazines covering a wide range of topics
(from personal recollections to pedagogical theories, from sociological research
to musical analysis, etc.). The best articles are then published each year by
the association in the form of the “Research proceedings yearbookî.
The IAJE is most remarkable in the way it works with teachers. IAJE and
MENC (the National Association for Music Education) have joined forces to
offer them a regular workshop lasting for two and a half days. These workshops
are designed for private teachers, bands, strings and vocalists keen to
strengthen their competence in the field of jazz teaching. The sessions, also
open to university students currently enrolled in a music education program,
have been highly successful, since they cover every aspect of music from performance
to improvisation, from analysis to the question of evaluation.
IAJE membership is continually expanding. With more than 8000 members in
nearly 40 countries, the IAJE is today a recognized authority in jazz promotion
through teaching and research.
12

er of the IAJE,
ation for Jazz Education
A 34 th edition on
the history of pedagogy.
The IAJE, back in New York
Next January, on the 10th and the 13th, the IAJE comes back to New York, like in 2006, for its
annual conference. Located in the heart of Manhattan and the famous theatre quarter, the conference
promises an in depth exploration of the history of jazz pedagogy and the participation of
very many students and teachers from all over the world. More than 7000 visitors are expected
: teachers, professional and amateur musicians, recording companies, festivals, publishers, instrument
and accessory manufacturers, universities, colleges, agents and the media.
Jazz pedagogy and teaching
The history of jazz pedagogy is the theme of the conference comprising numerous events and
located in more than 20,000 m of exhibition space. The goal of this year’s conference is to provide
maximum information on any technique applicable to collective or private teaching.
A « user friendly » atmosphere
The atmosphere will once more be « user friendly », with the idea of each person contributing
his own experience. An opportunity will also be given to all the teachers and professional musicians
involved to present their pedagogical methods to young students, through a series of sessions
called « Connecting with kids ». A space will be specially devoted to technological advance,
with all the new pedagogical tools and the most recent computer programs on the market.
A « hands-on lab » will offer demonstrations in small groups to those interested. The conference
will begin with a fanfare on the Thursday evening.
13
Jean-Paul Gauvin and TK Blue in the
show-room. A try out session.
Vandoren present
at the 2006
conference …
Michaël Cheret, Grant Stewart, Dmitri
Baevsky and JPG at the 2005 IAJE
Victor Goines
Essais sur le stand
David Gould,
Bob Mallach, JPG
Michael Cherret,
Scott Robinson
Bobby Watson,
Michael Skinner

The Vandojam Summer
Apart from the monthly Jam at the Sunset (Michael Cheret Quartet)
each first Tuesday of the month, this concert-jam concept is catching
on in different towns throughout France.
Since the beginning of the year, Vandojams have been developing in
popular jazz venues. An ideal vehicle for communication for us, they are also a guarantee of
high quality to the public.
.
January 2006
The Hot Club in Lyon allowed us to organize a workshop followed by a Vandojam featuring Francis Bourrec
in quartet. Since the month of October, this has now become a monthly jam with Eric Prost’s quartet which,
with a very precise theme, encourages young talent to participate in excellent musical conditions.
April 2006
The rose-colored town picked up on our concept. Thanks to a few local musicians (Michael Itier and Jean
François Recouderc), Toulouse came out in strength to this Vandojam event orchestrated by our « godfather »,
Francis Bourrec.
June 2006
In a preview of the Bordeaux New Orleans festival, the Vandojam opened this festive event with as lead,
uncontested master, Mr Jacques Gauthe.
The « Jazz à Vienne » Festival welcomed on June 29th, after a concert in its antique theatre devoted to Sonny
Rollins, an original formation: the « sax springboard ». In its little Italianate theatre, transformed into a jazz club,
this podium of young talented saxophonists was also a Vandojam directed by Michael Cheret and featuring
Irving Acao (Cuba), Christian Weidner (Germany), Gabor Bolla (Hungary), Luigi Grasso (Italy), Antonin Tri
Hoang (France). Serious hard hop…
July 2006
For the first time in the National Park of the Chevreuse Valley: 6 hours of non-stop jazz including a line-up
from « Jazz à Vienne » with our godfather Francis Bourrec. The Vandojam fitted into this mini festival where a
great number of Vandoren artists were also playing: the group Madsax and the Nagual Quintet with Florent
Hubert on tenor sax. This successful night was to directly precede the Vandojam on the next day at the Sunset
in Paris.
August 2006
Jazz in Marciac. 4 concerts programmed in the off festival along Vandojam lines with our Parisian leader Michael
Cheret and guests Gabor Bolla (Hungary), Christian Weidner (Germany) and our dynamic and very talented
Max Pinto.
October 2006
Jazz between the two towers of the Festival of La Rochelle. Two Vandojam evenings were programmed, one
with Michael cheret for the overture of the festival and a second for the close of the festival with that giant of
hard bop, Francis Bourrec.
Though the concept of the jam is not new, the will and energy of our artists has caught on. The press has this to say: “The
Vandojam is one of the most reputed jams in Paris… A convivial atmosphere with music of a very high standard… The place where
saxophonists get together…” etc.
Check out Vandojam events on our website: www.vandojazz.com

ABOUT PRODUCTS…
THE REED AND JAZZ, AN INCONTROVERTIBLE ALCHEMY THAT ENDURES,
DESPITE TRENDS AND MUSICAL CURRENTS…
How did Jazz first come to
Vandoren.
From Benny Goodman to Stan
Getz and Gerry Mulligan (to
cite but a few), many of the
great names of jazz have perpetrated
the tradition of Vandoren
reeds. The development of relationships
between artists and
technological experts turned the
80s into a decisive period for
reed manufacturing: the creation
of a new model, the JAVA
reed (Jazz-Vandoren) which was
soon associated with a range of
sax mouthpieces (Java and
Jumbo Java) for alto and tenor.
Vandoren became more familiar
with the jazz world and artistic
relationships developed very
quickly. Vandoren’s presence in
the American market became
stronger, making the company a
reference in jazz culture on the
other side of the Atlantic.
Jazz V16, ZZ or classical?
The Java reed is different from
the classical reed (« the blue box »)
with its chamfered edge. The
profile of the reed gains in suppleness
while still preserving the
sound and adapts itself more
easily to mouthpieces with
strong timbre. The different
models of reeds proposed today
(Java, Classical, V16 and ZZ) are
identified by criteria of equilibrium
and apportionment of the
« wood » to the vibrating part of
the reed.
Nearly ten years ago now, the
V16 alto mouthpiece affirmed
itself as the reference in the jazz
world, as much from a manufacturing
point of view as from its
own inherent artistic worth. We
are not in the habit of citing all
the jazzmen who have adopted
it. The list would be too long. All
are unanimous: this mouthpiece,
whether open or closed,
maintains its equilibrium (low
and high) and its timbre certainly
recalls the classic sounds of
the great names of Bop. The
V16 label will soon include a
range of mouthpieces for soprano
and tenor. This series is perfectly
adaptable with V16, Java
and, of course, ZZ (jazz) reeds.
The soprano mouthpiece
Technical and artistic development
associates the brilliance
and sound depth of this new
V16 mouthpiece while preserving
the identity of the soprano
The sound belongs to the
musician.
Sound color belongs to the musician.
It depends on the organization
of the embouchure and of
course on the morphology of the
instrumentalist, given the configuration
of the mouthpiece
used. V16, Java or ZZ can be
qualified in a few words: brilliance,
resonance, improved sound
and suppleness. Reed strength is
measured in terms of reed flexibility
which, itself, is linked to the
density of the fibre. Reed thickness
is therefore not the only
absolute criteria of the latter.
Given the same strength, no
model will ever be the same (for
example, a V16 n°3 reed is closer
to a ZZ n°3,5, a Java n°3 reed
will be closer to an easy V16
n°3). The series of V16 mouthpieces
(soprano ebonite, alto
ebonite, tenor ebonite and tenor
metal) is perfectly adapted to
three reed models. The same
sax. The conception of the
rather unusual interior of the
mouthpiece is the fruit of close
collaboration between our specialists
and musicians. Three openings
are possible: S6 - S7 - S8.
The tenor mouthpiece
Since jazz has often been a language
through which artists
leave their mark on their
epochs, the materials they
choose are essential. The striking
personalities of Stan Getz
and Joe Henderson contributed
directly to a current infatuation
for the tenor sax mouthpiece in
ebonite. Vandoren Java and
Jumbo Java mouthpieces were
thus able to gain a certain notoriety,
and the recent development
of the new ebonite V16
tenor mouthpiece will now
reinforce this. The concept of
this mouthpiece is above all very
methodically inspired by the
influences of this epoch. Three
applies to Java and Jumbo Java
mouthpieces.
Those convinced:
Steve Coleman
A55 Java mouthpiece.
V16 n°3 reeds.
Bobby Watson
V16 A8s mouthpiece.
ZZ n°3 reeds.
Michael Cheret
V16 A7s ,
mouthpiece, Java n°3 reeds
Francis Bourrec
V16 T95 metal mouthpiece.
ZZ n°3 reeds.
Erick Prost
V16 T75 metal mouthpiece.
Java n°3 reeds.
A REED IS A NATURAL
MATERIAL THAT NEEDS
TO BE PREPARED AND
TESTEDÖ EACH HAS ITS
OWN QUALITIES OF
VIBRATION AND SOUND.
IT’S UP TO YOU TO
APPRECIATE THEM …
THE V16 MOUTHPIECE SERIES… SOPRANO, ALTO, TENOR EBONITE…
openings are possible: T7 - T8 -
T9. Each mouthpiece is a compromise
between the length of
the curve of its table and its
opening. The interior is also a
predetermining parameter in
sound quality and mouthpiece
resonance: variants in interior
form define the sound dynamic.
An open mouthpiece is not systematically
difficult to control:
this depends on the choice of
the reed and the curve of the
table of the mouthpiece. The
high standard and care brought
to the manufacturing of our
mouthpieces has created a quality
label recognized by artists.
Antonio Hart, Alain Debiossat,
Steve Wilson, Michael cheret,
SÉbastien Jarousse, Bobby
Watson, Max Pinto, Vincent
Herring, Sylvain del Campo,
Jean Toussaint, Mark Groiss,
Francis Bourrec, Eric Seva, Jan
Garbarek, Gabor Bolla, Sophie
Alour… and so many others…

Vandojam NY
the 50 th
All Vandojaminfo on
www.vandojazz.com
All the Vandojams
MADRID, CASTELLON DEL MAR, VALENCE, LJUBLJANA, BERLIN, TOULOUSE, NEW-YORK,
CHICAGO, BORDEAUX, LA ROCHELLE, MARCIAC, LES MOLIÈRES, VIENNE…