They are by far he best student level horn I've played, and the altissimo handles better than many contemporary pro models. Flexible, with good punch to the sound, this a horn to be reckoned with.So it is with a certain amount of surprise that I now say, if you are a doubler looking for a jazz horn with a very limited budget, give the Boosey & Hawkes Edgware a try. The altissimo on this horn is very close to a good Selmer.
Which brings me to the.altissimoWho would have though that a student horn could handle real altissimo playing? Yet the Edgware does.
Oddly enough, the higher I climbed on this horn, the better and more professional it sounded. The Edgware's smoothness would make some sense of players preferring it as a primary jazz horn-especially if they are coming to it from Buffets. Keep in mind that my biggest criticism of the average R-13 is the timbral shifts between every register (and many in the altissimo). On this particular horn, the clarion matched the chalumeau better than many Buffet R-13s I've played. Still, it yields a good, solid sound with considerable body-more than I expected, but difficult to project.clarionThe first nice surprise was the clarion. Boosey Hawkes Edgware Clarinet Serial NumbersĬomfortable, easy to blow, and somewhat open, the main problem is a lack of depth, power, and character to the sound when compared with a or (whose chalumeau is perhaps unsurpassed for power and timbral palette).Having said that, the keywork was not the standard of a top professional horn.chalumeauOf all registers, the Edgware chalumeau betrays its 'student' status most.
The keys were beautifully preserved, and my general impression was that this horn had either barely been played, or wonderfully restored recently-perhaps both. The particular model I played was in excellent condition. Top jazz players have always played top pro model horns, and the Edgware was a high end student model horn from the 50s-70s when Boosey & Hawkes were at their height.B&H EdgwareSo it was with a predisposition towards dismissiveness that I recently played an Edgware dating from about 1949 (if the serial number chart I checked is to be believed). I've always been a bit skeptical of this, thinking is says more of the player's poor understanding of jazz sound than the instrument. There are many on the web who say the B&H Edgware makes a good jazz clarinet.
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