Over the years I have used ash glazes with ash from a variety of sources. The composition of the ash, rarely mattered based on how I was using it. In recent years, that has changed quite a bit. The ash glaze I am primarily using can swing widely in appearance based on where the ash comes from.
My current, but dwindling ash supply is a blend of ash that I got from Bill Klock and my father-in-law. Bill’s ash was a mix of soft and hard woods from his tree farm. The ash from my father-in-law is composed of a myriad of things; soft, medium and hard wood, construction scrap, paper ash, charcoal ash, and other misc. sources. The blend of the two gives me a good glaze that is amber/aventurine speckled where thin and runny Karatsu style where thick. This glaze can be used in a variety of ways.
I am currently testing new batches of ash from my sister-in-law and an old neighbor. As suspected, the results are different than I have been used to, but given time, patience and constant testing, I should be able to come up with a blend that works right for me and my pottery.
The tall kushime cap jar was glazed in my temmoku glaze and my old haiyu ash glaze.