Raymond Burke (clarinetist) - Burke's Musical Characteristics

Burke's Musical Characteristics

Raymond Burke played in the Dixieland style. According to Charles Suhor, Dixieland is characterized, and differentiated from earlier Jazz forms, by “more conventional tones of wind instruments, rejection of rapid vibratos, greater instrumental facility, and considerable attention to solos, which are routinely “passed around” in between opening and closing ensemble Choruses.” Burke's repertoire consisted primarily of old standards. New York Times reviewer, John S. Wilson claimed that Burke “used mellow, woodsy lower notes to build delightfully catchy little phrases and runs.”He also noted that Burke would wriggle around in his seat while playing, and that, during solos, he would play from a strange, semi-crouch position. He also commended Burke's “unhurried” approach. While Dixieland is often assumed to be a campy imitation of past music, Wilson notes that Burke does not depend on musical stereotypes or clichés. Al Rose also claims that, while Burke's music was quintessentially traditional New Orleans, his sound was not nostalgic. Instead of strictly imitating the musical style of 1920's jazz, Rose felt that Burke remained an innovative musician, who just happened to work through that particular style of music. One 1965 concert that Raymond played exemplified many of his defining musical characteristics. This concert was particularly noteworthy because it brought together Burke, and Chicago style pianist Art Hodes. Although the reviewer claims that the group was prone to “ragged endings” and occasional uncertainty and hesitation, he applauds Burke's ability to play with Art Hodes and feed off his musical spontaneity. The reviewer notes Raymond's economic solo lines, and argues that he was a master of spacing out musical ideas. The review asserts that Burke had an excellent handling of the lower register of the Clarinet, also known as the “Chalumeau” register. Burke would often begin a solo line with an unexpected high note, then proceed down in pitch until he reached this register. Even within the Dixieland style, Burke's playing was viewed as eccentric, and highly individual. Al Rose claimed that,

"He just doesn't play a clarinet part! The tourist expects to hear the really conventional harmony, and Raymond just won't stick to it. He's got all that ingenious counterpoint on his mind-- and you know, if it's on his mind, he blows it!"

He refused to play music which he deems too fast or too slow. He believed that to play music at such high tempos was merely a way for players to show-off. Doing so shifted the audiences attention away from the music. On the other hand, he also insists that Jazz shouldn't be played too slow, claiming that “the blues ain’t funeral music.

Burke does very little for effect. Unlike many musicians who became associated with the New Orleans style, Burke did not flutter or play in an uncontrolled way. Burke would not sacrifice tone for a crowd pleasing effect. Burke was known to sometimes stop playing during a performance and walk offstage if he felt as if one of his bandmates was pandering to the audience.