INSTRUM-ENTAL - while listening, you can read a GREAT MAGAZINE STORY about me and Jason Miles by Debbie Burke! The “World’s Loudest Clarinet Player” Waxes Quietly Poetic on a Life in Music Efrayim Fischbacher is a clarinetist not by accident nor by way of trying to make a necessarily lucrative career. The self-effacing 93-year-old just wanted to be part of the early-nineteenth-century vaudeville scene. His talent and some luck landed him at the famed Lyceum Theatre in New York City’s Times Square and the old Paramount Theatre. According to his biography, Fischbacher, who self-enlisted in the US Army, earned the moniker “World’s Loudest Clarinet Player” after a prank where he woke a sleeping Army officer with his “lively” playing. He found work with a lot of big bands and also in television when he was hired by NBC to create sound effects for a number of shows using his horns. His new work, a collaboration with Jason Miles, a keyboard and synthesizer player/record producer/author (see his interview here), is called Efrayim + Miles: The Artistry and Volume of Efrayim Fischbacher. It showcases his great sense of play—no surprise there—and lifelong love affair with a great melody. Four tracks, one huge personality. Fischbacher has a stop-and-go musical conversation with the listener in “Darling Doris.” The added pop and hiss and simple melody with its fast 1920s rhythm makes “Entreact” an instant period piece while produced just last year. His chosen musical path has been more than rewarding and he has definitely added something special to the jazz community with this new music. How did this project come about? It had been many years since I had actively made music. I was lucky enough to come of age during the active and vibrant music scene that existed in the 1950s, 1960s and 1970s and I had moved to Naples, Florida. I was in my late eighties, and happily living in Naples pursuing my instrument repair hobby and playing my clarinet during my daily walks. Several years ago, I started to produce a series of concerts for local charities, and when my guest artists invited me to close the show, well, I guess the spark of performing was relighted! At 93, it’s proof that It’s never too late to share musical gifts! Why/how did you decide to collab with Jason Miles? Over ten years ago, the assisted living facility provided computers. I had never worked with one before, but when they showed me “Face-book,” I quickly made friends with folks from all over the world, and became known for my opinions, my wit and wisdom. One of the people I met through other friends was the wonderful Jason Miles. We talked about my project, and I quickly realized he had the technical knowledge to make my dream real. The technical world of music has changed so much since I was last active. I needed help with that side, and I could give him a boost as well! He can be quite finicky, but that’s what makes a good sound man and producer. My project is one that is just beginning. Only the first version has been released, and with each version, it will show the development that happens along the way. I’m sure you can hear that the modern tracks are in the formative stages. They will be dramatically different in their final versions, but I am giving equal weight to all the versions. In the past, I have also seen musical pieces change, but the public only gets to hear the final version even though earlier versions are sometimes equally valid. This time around, all versions will be released. The songs will evolve, grow, and eventually die – just like life! Unfortunately, Jason had to leave the country on short notice, so I hope he will be able to continue to work on this project that he inspired. Besides the pop and hiss, how did you honor the music either in rhythm, instrumentation, melody, etc.? The opening number you refer to is called “Entreacte” and is a reflection of time as it relates to all of us. Our lives are all an “entreact,” perpetually “between acts.” In my case, my musical spark and energy is rooted in the moments I experienced in the late 1940s and ’50s. These moments are always carried with me, and when I decided to start another “act,” so to speak, I wanted to draw from that. As much as I love the new music technology (except for drum machines – sorry Jason!), it failed to capture the feeling that I remembered when I listened to so much music back then. We tried all sorts of gadgetry, and while the soundman played the song, twiddling all the knobs and trying different settings, I listened with my eyes closed while drinking a glass of my favorite whiskey. One of them brought back that feeling, instantly and perfectly, and that’s what we used! As for the rhythms, the idea was to use an exotic jungle type of slinky-rhythm that you don’t hear much anymore, but I remember we used to all go nuts for. People love the two and the four so much today, but I always say “what about one and three”? Don’t forget about one and three! The orchestrations were largely based on a fellow I knew from my days in Hoboken. Sal is long gone, but he showed me how to do it, and his style lives on in this piece. How did you choose the tracks to do on this album? Which one was the most challenging to produce? The first track was the easiest, because it is based on life already experienced. The others, well, they are still a mystery! How exciting and scary, because I still am waiting to see where they go. They are based on my life in Naples. Doris was a lady who lived across the hall from me and often complained about my incessant practicing. “My Famous Grouse” is a tribute to a certain beverage, and “Naples Sunrise” is a meditation on the beauty of staying alive in this world. What do you love about this era of music? Well, the current era of music seems to have more than ever. I try to keep up. When I did my concert series, I tried to feature different music every time. One week I featured swing, the next, polka, the next smooth jazz, country-time, and so on. I find something to like about almost every kind of music. The only thing I refuse is a clattering, rattling drum machine. Jason Miles seems to like them, but that’s where I draw the line! What age did you start clarinet and why did you choose it? I remember seeing a clarinet a shop window in Hoboken in 1937. What is the most gratifying OR the hardest technique/nuance to learn on the clarinet? I always struggled with precise articulation! Over the years I have created quite a few tricks to distract the audience if I’m coming up to a passage that is too difficult! What did your music education consist of? My music education was years of folks in bands telling me what not to do, logging hours in nightclubs, music halls, ocean liners and bandstands. What “real-world” lessons did you learn once you were gigging/performing? 1. Don’t get smashed on the bandstand. 2. Big ending, big applause. Small ending, no applause. 3. Don’t forget your appearance. Good stage wear is a must! 4. Entertain! 5. Don’t be late. 6. You’re never too old. Would you encourage young musicians to take a similar path to you or what advice would you give them? I don’t think a similar path exists today. There aren’t any music halls or clubs or bands like I had at the time of my early days. However, younger musicians can do what I do now! I just don’t give up, I talk to anyone and I keep a sense of humor while I do it all myself. Why not? When in doubt, I just shout “Ooonpah!” and carry on. Why are you called The World’s Loudest Clarinet Player? Is there a decibel level you achieve? This all started in 1967. See the excerpt below. Chapter 1.2 – The World’s Loudest Clarinetist™ In 1967, Efrayim Fischbacher earned the title of “World’s Loudest Clarinet Player” at a jazz club in Hoboken, New Jersey. The night of Efrayim’s big win was one that he would never forget. The jazz club where Efrayim earned his title was a small and intimate venue, with a stage that was barely big enough for Efrayim and his bandmates. The atmosphere was electric as Efrayim took to the stage, and the audience was immediately drawn in by his dynamic and energetic performance. Efrayim’s clarinet playing was on fire that night, and he seemed to be able to hit notes and play melodies that no one had ever heard before. His solos were raw and powerful, and he seemed to channel the energy of the crowd into his playing. As the night went on, Efrayim’s playing only got louder and more intense. The audience was on their feet, cheering and clapping along as Efrayim hit note after note with precision and power. By the end of the night, there was no doubt in anyone’s mind that Efrayim was the loudest clarinet player in the world. There were decibel meters on the side of the stage that night, and fans were waiting to see if Efrayim would break the record for the loudest clarinet performance. When the final measurements were taken, it was official: Efrayim had indeed broken the record and earned the title of “World’s Loudest Clarinet Player.” The title of “World’s Loudest Clarinet Player” was a huge honor for Efrayim, and he wore it with pride for the rest of his career. He continued to tour and perform, always bringing his unique and powerful style to the stage. Efrayim’s big win at that jazz club in Hoboken was just the beginning of a long and successful career as a clarinetist.” How would you characterize your particular style? That’s a good question! I’ll have to think about that with a glass of The Famous Grouse. It sounds like you have fun with the music. Is there a point otherwise? I think this generation might be missing out on just HOW fun music is and can be. I try to show this through my enthusiasm and humor. Music is also living, and I will be showing that through my new project. Music keeps me alive which is shown when you see my active life compared to a lot of the other folks here at my Assisted Living. Talk about being a master repairman and when did you learn that? How has it helped you through the years? One day I bought four clarinets and three saxophones at a garage sale in Fort Myers. I went into my room and took them all apart. ELEVEN weeks later when they were put back together again, with the help of daily deliveries of tools from Amazon and guidebooks, I figured it out. After that, my buddy Harley shared his knowledge with me, I find it helps me use the other side of my brain and is very enjoyable, if a little messy. Why you love music is: why I love life. Other comments? More is coming. Stay tuned, folks! For more information, visit https://efrayimfischbacherfeaturingjasonmiles.bandcamp.com/releases. Photos courtesy of and with permission of the artist. (c) 2023 Debbie Burke

O Naples! O Sun-rise! O Naples! O Sun-rise O nap -ples O Sun. RISE!