Hi, I'm Jeanine. I assist oboists in achieving intense musical expression. For nearly 30 years, I have been performing solo, orchestral and chamber music on modern and historical oboes all over the world, teaching oboe and reed making and producing professional quality, hand-finished reeds. I studied modern oboe and the American long scrape in the United States, working mostly with students of John Mack and with Tabuteau student, Rhadamas Angelucci. After moving to Germany, I spent over 10 years making reeds for Kreedo Shop. There I learned the European short scrape from oboe reed master, Jürgen Krebs. Stephen Hammer, Gonzalo X. Ruiz and Jennifer Harris mentored me further in the art of reed making for historical oboes.
As double reed players, we have grown accustomed to being a rare breed and often long for colleagues and friends with whom to speak in our own very special language. In this space we connect with others all over the world to pool our efforts, strategies and skills especially for performing and reed making and to share our grievances and joys, successes and failures. This community springs from the desires of Dynamic Reed Makers and participants in JK Reed Making workshops for ongoing connection beyond the end of the workshops, courses and masterminds. We conduct experiments together, sharing what works well and what has proven less successful. We use the strength of the community to find solutions. We learn by teaching. We encourage each other to take bold risks within the safety of this space.
Together we are strong. Together we stay motivated and inspired. Together we turn the duty and discipline of reed making into a basis for connecting to each other and to our our own artistry.
We take our name from the the earliest known oboe method The Sprightly Companion London 1695 J(ohn) B(anister).
For besides its Inimitable charming Sweetness of Sound (when well play'd upon) it is also Majestical and Stately... the greatest Heros of the Age...are infinitely pleased with This for its brave and sprightly Tone.
Some Men, I must confess, endeavour to Decry the Hautboy, pretending the learners must blow so hard, that it is apt to bloat their Faces, and prejudice their Lungs: But this is a meer Mistake, as will be foudn on Experience: For all that play upon this Instrument, to a reasonable perfection, know, That with a good Reed it goes as easie and as soft as the Flute.
I borrow J.B.'s words and apply to our Sprightly Companions Community:
Now since the Hautboy is so fine and usefull an Instrument, and so portable a Companion, ... Tis for this Reason alone I have now published this small Piece, which contains such exact Rules and Methods for that purpose, that there is nothing wanting, only the Time....so that any [Person], may, in a little time, arrive to a Perfection thererin.