that is ringed with cork. Today, as with the saxophone mouthpiece, the reed is placed against the surface (the table) closest to the player's bottom lip. However, this was not always so: The earliest clarinetists would often place the reed on top of the mouthpiece. Bernhard Crusell (1775–1838) was one of the first clarinettists of note to consistently place the reed against the bottom lip. Of particular note is Reginald Kell who was known for using a "double embouchure", also known as "double lip". This is a technique popular in the UK up to the 1960s, whereby the reed is placed against the lower lip, which covers the lower teeth—as in the single embouchure—and additionally, the upper lip is tucked in between the top of the mouthpiece and the upper teeth. Some clarinetists in Madagascar today still play with the reed on top as can be heard on the CD Bémiray: Polyphonies des Hauts-plateaux. Clarinet mouthpieces are available in hundreds of styles from dozens of manufacturers around the world. Mouthpieces are often named after famous performers who contribute to their designs. Popular mouthpiece makers include Selmer, Vandoren, Yamaha, and Rico. Saxophones The saxophone mouthpiece is outwardly similar to that of the clarinet but has no tenon. Instead, the saxophone's neck has a ring of cork glued to it, and the mouthpiece fits firmly onto the neck cork. Saxophone mouthpieces are available in hundreds of styles from dozens of manufacturers around the world. Mouthpieces are often named after famous performers who contribute to their designs. When Adolphe Sax invented the saxophone, he specified the shape of the interior of the mouthpiece as being large and round. All saxophone mouthpieces were made in this style until the 1930s, when the advent of big-band jazz made saxophonists experiment with different shapes of mouthpieces to get a louder and edgier sound. A baffle, or section of the mouthpiece roof sloped close to the plane of the reed, became a design feature for enhancing volume and projection. Between 1940 and 1960, it became common for classical saxophonists to use narrow-chamber mouthpieces based on those designed for jazz use. These mouthpieces give the instrument a brighter and edgier sound (more high partials) than the traditional shape as designed by Sax. One saxophonist and teacher, Sigurd Raschèr, spoke out against this change in mouthpiece design. He believed that when used in classical music, the saxophone should sound