I’ve just finished ‘breaking in’ my Bleazey flute (never spent a more frustrating 2 weeks in my life!) and now I can play it when I like for however long I like. I’ve given up trying to fight the illogical emotions I have for this inanimate object, never thought I’d see the day when I felt passion for a piece of wood! I have set aside my other flutes (delrin and bamboo) for the time being.
and something puzzled me… Chas said (of his teacher I think) “He also agreed that it’ll never be an Irish session flute. I was glad that a really good and experienced flute player validated my impression of it.”
Which makes me wonder… what is an Irish session flute? What qualities would a flute need to qualify?
I’d imagine that in the case of this flute (or these flutes), they just mean that the instrument is quiet.
Which, I’d have to say, in no way makes it a bad session instrument. Sessions aren’t about whom you can drown out, but rather whom you can play WITH. I’d also have to wager that by that definition, very few high D whistles qualify as good session instruments.
I’m not a session person, but Stuart is correct that I intended to convey the message that it wouldn’t carry well or “cut through.”
I’m revising my opinion somewhat, though. I’m getting much better volume from it than I ever had before, and volume comparable to my Copley, which I think many consider a good session flute. The Bleazey doesn’t carry as well because the sound is much warmer and less clear, especially in the upper octave.
I will add that the more I play other flutes, the more the Bleazey impresses me. I had originally thought of it as a beginner’s flute that I’d rapidly outgrow, but it is just plain a good flute. The sound of the unlined boxwood head is definitely not for everyone, but it’s exactly what I think of when I think of a wooden flute.
I did a gig Saturday that, with just zook/banjo and flute, was a thin undertaking. Noisy atmosphere.
I looked at my colleague and asked, “want to do it entirely in Eb?”
He agreed.
And, boom. There it was. The Eb quite literally cut through the drone (not loudly, mind you…just cutting) that people who couldn’t hear me because of the noise while playing the D now heard me fine (they said) as well as the guitar.
And we heard each other beautifully.
So…what makes a great session (for a loud, obnoxious session with 500 …or so it seems…performers)…Eb!
I’ve a Mopani Bleazy and I can get a nice sounding loud sound out of it. Enough so that I don’t have to be miked. I play with a Celtic harp emsemble. The harps need mikes in pubs and don’t in churches/performance halls. The Bleazy flute sounds really nice not even considering the price. The tone is dark and the notes are fairly crisp and not raspy. The kicker for me was very quick deliverability. I’d never played a wooden flute before, he had one in stock and I bought it. It might have taken me a week at most to get used to it. I’m very happy with it and recomend it.
And thanks Chas, it’s great to hear that so many months along the journey you’re still finding pleasant surprises with the Bleazey
Mine’s in Mopani, same as nopaul’s. Love it. I met Phil Bleazey and his good lady at the Chippenham Folk Festival a few weeks ago…he’s a fine fellow… I bought his G flute in Mopani while I was there (finished the ‘break-in’ period last night!).
edited to add: Hi Amar! Hope the holiday in Scotland was a good one!
