With the decline of the big bands' popularity in the late 1940s, the clarinet faded from its favourite place in jazz. By that time, an interest in Dixieland or basic New Orleans jazz had revived; Pete Fountain was top-of-the-line known performers in this genre. Bob Wilber, active because the 1950s, is a more eclectic jazz clarinetist, gambling in a few basic jazz styles. During the 1950s and 1960s, Britain underwent a surge in the popularity of what was termed 'Trad jazz'. In 1956 the British clarinetist Acker Bilk centered his own ensemble. Several singles recorded by Bilk reached the British pop charts, including the ballad "Stranger on the Shore". The clarinet's place in the jazz ensemble was usurped by the saxophone, which projects a more successful sound and uses a less complicated fingering system. The requirement for an increased speed of execution in modern jazz also did not favour the clarinet, but the clarinet did not totally disappear. A few players reminiscent of Buddy DeFranco, Tony Scott, and Jimmy Giuffre emerged in the course of the 1950s gambling bebop or other styles. A little later, Eric Dolphy on bass clarinet, Perry Robinson, John Carter, Theo Jörgensmann, and others used the clarinet in free jazz. The French composer and clarinetist Jean Christian Michel initiated a jazz classical cross over on the clarinet with the drummer Kenny Clarke.

Clarinet Concerto in A Major KV 622 Audio plus Score by Wolfgang Amadeus Mozart Clarinet Concerto in A Major KV 622 Audio plus Score by Wolfgang Amadeus Mozart MOZART Clarinet Concerto - PIANO SCORE - SCHIRMER Score Mozart Clarinet Concerto A Major KV 622 (Zen-on score)