“I’m so thankful for the new ears you have given me. Our musical imagination is the most important element in our sound and you have given me a sound that I did not know I could dream of. The Chedeville mouthpieces are a game-changer. I’m simply in love with them.”
Chuck Currie, Clarinetist and Saxophonist
Additional Comments from Chuck:
“The game-changing starts with the remarkable Chedeville rubber, a softer and warmer material that adds an incredibly rich glow to the sound. Then comes the excellence of the CNC milling and hand-finishing with expert play-testing. The larger instruments are more burnished and brawnier than ever and the smaller instruments project a shimmering ringing tone. There is a warm grain and enhanced core to the sonority that is just magic. Both louder and softer dynamics are easier to produce.”
“My Chedeville RC Alto 3* is simply the Platonic Ideal of classical alto saxophone mouthpieces. I have to be fussier on alto than all the other horns because I play so frequently with orchestra. Never have I played a mouthpiece with this much presence, authority, response, and delicacy. I can play more exaggerated and beautiful fortissimos and pianissimos than ever before. I did not give up one iota of the glorious rich tone to gain this control and I’m just ecstatic. It is very seldom that a new mouthpiece can just blow away all the competition, but I feel exactly the same way about my Chedeville RC Baritone 4, RC Tenor 4* and RC Soprano 3*.”
“Our instruments are named for the human voice, and can be just as appropriately compared to strings…the Baritone is the cello to the Alto viola. In terms of royalty, the Baritone is the King to the Alto’s Queen. The Chedeville sound made my beautiful Bari the “King of All the Instruments.” Any true Baritone saxophonist regards the Bach Suites for Cello as a touchstone for our sound and soul. The Chedeville Baritone sound playing Bach touches my soul deeply.”
“Classical tenor, the Prince of our family, is under-utilized and the Chedeville tenor mouthpiece has me bringing the Jean-Baptiste Singelée solo repertoire out for practice. Late 19th and early 20th Century chamber repertoire is the reason I added saxophone to clarinet while in university, and these mouthpieces make me want to play it all day long.”
“The Soprano is our Princess and Violin. The Chedeville sound is just glorious….so rich and warm and sweet, but still authoritative and with that lovely dark grain that characterizes the French school of classical saxophone.”
“The Chedeville Umbra soprano clarinet mouthpiece is phenomenal. The combination of effortless resonance and articulation with the sweet, complex ringing tone is unheard of in clarinet mouthpieces. Furthermore, the Umbra is incredibly reed friendly. I can use harder reeds with ease and they need far less adjustments. My legato is more liquid and every note just pops. I love it more every time I put it on my clarinets. Chedeville Umbras just sing.”
“The JodyJazz POWER RING is a work of genius. The heavy mass of the ligature lends incredibly rich resonance to the tone, while the limited contact points allow for great life in the sound and terrific ease of articulation. I own over a hundred excellent ligatures, and the POWER RING blows them all away. These are not just for jazz… they are also beautiful classical ligatures with the most resonant core sound you’ve ever heard for soloists, large ensemble, and chamber players.”
Chuck Currie performs with the Vancouver Island Symphony, the Pacific Symphonic Wind Ensemble, Amici Musica, Sax Noir sax quartet and Pacific Blackwood bass clarinet quartet.
Mr. Currie is a Chedeville, JodyJazz, Vandoren, Backun Canada, and Conn Selmer artist-clinician performing on Backun Lumiere Clarinets, Selmer Privilege Bass Clarinet and Yanagisawa Silver Sonic Saxophones.
He has performed at Canadian Music Educator Association conventions, World Association of Bands and Ensembles conferences, North American Saxophone Alliance conferences and at International Clarinet Association Clarinetfests. A reviewer of the opening concert of the Vancouver 2007 International Clarinet Association Clarinetfest reported “he did an absolutely amazing job of interpreting the bass clarinet solos in Frank Ticheli’s Blue Shades. Never have I heard a bass clarinet shape and bend notes like that…what amazing projection.”
He teaches at St. George’s School and his own Sax Noir Studio, and conducts clinics throughout British Columbia. Students have successfully auditioned for national and international ensembles and schools of music.
His articles on pedagogy and equipment have been published in Clarinet & Saxophone Magazine, Canadian Winds, the BC Music Educator’s Journal and the BC Band Journal. He is a Canadian Champion for Music Education, a spokesman for the Coalition for Music Education.
For more information on Chuck and to read his very informative blog series visit: www.saxnoir.com