Joe Allard


I studied privately with Joe Allard from 9/79 to 6/83. The following info is from the book that comes with his video, "The Master Speaks":

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Joseph Allard studied at New England Conservatory, clarinet with Gaston Hamelin, Daniel Bonade, and Ralph Maclean, and saxophone with Chester Hazlett. He played clarinet and bass clarinet with the NBC Symphony of the Air. Mr. Allard was a feature solo clarinetist on the *Bell Telephone Hour*.

He has performed with the New York Philharmonic, the NBC Symphony Orchestra [under the direction of Arturo Toscanini], and the Symphony of the Air. He also performed on the Firestone Radio Shows, with Cavalcade of America, Band of America and on the Bell Telephone Show from their first radio show to their last television show for over 15 years.

Recently retired from the faculty of New England Conservatory, he also taught at Juilliard, Manhattan School of Music, Mannes College of Music, Brooklyn College, Columbia and Long Island University.

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His students include Harry Carney [bass clarinet], Michael Brecker, Dave Liebman, Eddie Daniels, Paul Winter, Dave Tofani, Bob Berg, Paul Cohen, Warne Marsh, Eric Dolphy [but *not* Coltrane], Lee Konitz, and many, many others in the saxophone world, both classical and jazz.

It is my personal opinion that, while worthwhile, the video "The Master Speaks", was done when Joe was already ill. It will open your eyes and ears, but you may not understand all of Joe's concepts by watching it.

Although I have not seen the Liebman video, Joe told me, in regard to some articles that Liebman wrote for Musician Magazine in the '70's:

  1. Liebman did not have the concepts accurately on paper. In fact, he said they were backwards.
  2. Dave never asked Joe for permission to use his concepts, nor did he dig that "Guru of the Saxophone" routine.
Joe was a wonderful teacher and was very kind to me. Studying privately with him was a dream com true. Without the pressure of any institution, we could really get to what I wanted and needed. We could talk about the theories of other teachers, saxophone or whatever. I was even lucky enough to house sit for him one summer. Having his library and study at my disposal was amazing.

He was a great player, a great teacher, a great artist, and a great person. I truly miss him. If I were to very briefly sum up some of Joe's basic concepts, they would have to include:

  1. You must hear and feel the music or you will not be able to play it. The minute and varied adjustments that your body must constantly make while playing something are impossible to do consciously. Only by hearing and feeling it can you get to this.
  2. This is true with embrochure. Furthermore, one must *get out of one.s own way*, so to speak. People waste a lot of energy on their embouchure and cause themselves more problems than they need to have. All the strength you need for your embouchure is already there; it is the sensitivity and awareness that must be developed.
  3. I learned many things about balancing reeds to make them more playable, playing overtones, etc. But the most important thing was perhaps that one does not play the saxophone with the tongue, teeth, lips, diaphragm, or fingers.

    One plays the saxophone with the ear, with the heart, and with feeling !

    Best wishes for a happy life in a peaceful world.
    Sincerely,
    Richard Tabnik, Jazz Alto Saxophonist

    If you would like more information, please contact me via e-mail.



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