Doreen Ketchins

You know, I was concentrating more on tone and technique and they were more concentrated on jamming, you know, bending the notes and not really concerned about tone and stuff like that, you know, so it wasn't my thing. And so, you know, a few days later, he knocked on the door again, and he said, well, what did you think? And I was like, you know, it's really not my thing.

You know, I was concentrating more on tone and technique and they were more concentrated on jamming, you know, bending the notes and not really concerned about tone and stuff like that, you know, so it wasn't my thing. And so, you know, a few days later, he knocked on the door again, and he said, well, what did you think? And I was like, you know, it's really not my thing.

I can appreciate what they're doing, but it's not my thing. And he said, well, you're entitled to your opinion. And as I tell you that, I can still see him saying that. Before he closed the door. And I just, I thought the world was going to end because I just made Mr. Marcellus angry, you know. He wasn't angry. He was just chilling, you know. And then I went to Loyola.

I can appreciate what they're doing, but it's not my thing. And he said, well, you're entitled to your opinion. And as I tell you that, I can still see him saying that. Before he closed the door. And I just, I thought the world was going to end because I just made Mr. Marcellus angry, you know. He wasn't angry. He was just chilling, you know. And then I went to Loyola.

I can appreciate what they're doing, but it's not my thing. And he said, well, you're entitled to your opinion. And as I tell you that, I can still see him saying that. Before he closed the door. And I just, I thought the world was going to end because I just made Mr. Marcellus angry, you know. He wasn't angry. He was just chilling, you know. And then I went to Loyola.

And just to cut the story short, I was practicing in the practice room. And, you know, there was a knock on the door. And I looked at the door. It was in a cubicle. So, you know, the doors were glass. This gorgeous, absolutely gorgeous dude was knocking on the door. And I'm like, may I help you? And he said, almost verbatim, I kid you not, he said, you know, you sound really good on that clarinet.

And just to cut the story short, I was practicing in the practice room. And, you know, there was a knock on the door. And I looked at the door. It was in a cubicle. So, you know, the doors were glass. This gorgeous, absolutely gorgeous dude was knocking on the door. And I'm like, may I help you? And he said, almost verbatim, I kid you not, he said, you know, you sound really good on that clarinet.

And just to cut the story short, I was practicing in the practice room. And, you know, there was a knock on the door. And I looked at the door. It was in a cubicle. So, you know, the doors were glass. This gorgeous, absolutely gorgeous dude was knocking on the door. And I'm like, may I help you? And he said, almost verbatim, I kid you not, he said, you know, you sound really good on that clarinet.

You know, you ought to try playing some jazz. And I was like, okay.

You know, you ought to try playing some jazz. And I was like, okay.

You know, you ought to try playing some jazz. And I was like, okay.

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Right? So, you know, straight tone, fill the horn up with air and stuff like that. And, you know, when you go high. So, but when I play jazz, you know, I still consider those qualities, you know, the quality of the tone and the quality of the technique and stuff like that. But, you know, guys would do it. You know what I mean?

Right? So, you know, straight tone, fill the horn up with air and stuff like that. And, you know, when you go high. So, but when I play jazz, you know, I still consider those qualities, you know, the quality of the tone and the quality of the technique and stuff like that. But, you know, guys would do it. You know what I mean?

Right? So, you know, straight tone, fill the horn up with air and stuff like that. And, you know, when you go high. So, but when I play jazz, you know, I still consider those qualities, you know, the quality of the tone and the quality of the technique and stuff like that. But, you know, guys would do it. You know what I mean?