I played Clarinet in elementary school. My music teacher was Fred Sharp, affectionately known as F sharp by the precocious many who discovered the irony early. We had to retire our Eb clarinet upon early childhood Mengele torture in the form of jaw-breaking orthodonture. I had a serious enough overbite to warrant a slow jaw readjustment utilizing a screw turning device at the top of my mouth each month (for two years) at Dr. Wasserman’s office (see the excruciating pain department). A sanctioned Medical procedure at the time. Nevertheless, three years later, I had to take a break from Clarinet for two years only to return to Alto Saxophone, a close Woodwind cousin. Luckily for all in my household, my embeture was intact, so the etudes continued.

Martin Frost is a clarinetist musician extraordinaire. My late discovery of his immense and sublime featured soloist talent/proficiency came while writing the “Why Amadeus ” article. Whether we find Martin playing Mozart Concertos for Clarinet or Vivaldi, Bach, Haydn compositions/concertos, Rhumbas by Chick Corea, even klezmer dances by Goran Frost, he excels with fluidity, expertise, perfect articulation, control, and humility. One can find out too much about this artist with simple Google searches or Wiki visits. We spend time with the little we know and effusively love in his Youtube uploaded volume.