A review of “Jazz Saxophone Etudes, Volume 2″ by Greg Fishman can now be found in the Reviews Section.
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Poke around and you will find diverse content about woodwind instruments. We also have a Vintage Ads Gallery and one of the best resources (if we do say so ourselves) about Yanagisawa Saxophones.
Our Discussion Community is a great place to talk about your favorite woodwind instrument whether it is a saxophone, clarinet, flute, oboe, or bassoon.
On the twelfth day of Christmas my true love gave to me
Twelve New York Meyers
Eleven Charlie Parkers
Ten Zoots a-drinking
Nine brown box Rico’s
Eight reeds adjusting
Seven ligs a loosening
Six tunes a changing
Five vintage horns
Four Great Neck Brilhart’s
Three Stan Getz’s
Two vintage links
And a gorgeous and mint Mark VI
Thought I had a great lead on a bass sax for a good price. No such luck. Still hunting for that killer deal.
In no particular order:
Siguard Rascher – Top tones!
Marcel Mule – The French School
Cannonball Adderley – Amazing tone, technique, and feel
Paul Desmond – Could you be more lyrical on the alto?
Phil Woods – The complete post bop package. Beautiful tone and lyricism on ballads.
Johnny Hodges – There’s only one Johnny Hodges!
Benny Carter – Such great sensitivity in all that he played.
Kenny Garrett – The best of the “young” guys. Unique tone and wonderful technique. Really interesting sense of harmonics and scales.
Greg Osby – Pushes the envelope of jazz/fusion/funk and everything else
Steve Coleman – One of the coolest senses of harmonics and scales around.
I own a couple of JK stencil B flats and generally play the JK’s instead of the Beugnier stencil low A that I have. I think I prefer the tone of the JK’s and the action is a lot more friendly. It’s rare that I need a low A so it hasn’t really been an issue. Like most players I’d love to have a nice modern low A but the price of baritones has gone through the roof in the last few years.
I picked up an oboe this summer and all I can tell you is that it is hard to play! The horn is in good adjustment but oboe requires a lot more adjustment for intonation than even the most out of tune saxophone. Clarinet is easy by comparison. I do have to say that I find oboe easier to play than flute. Nothing I’ve found yet is harder than flute.
Prior to early 2004 I was an alto player. After that time I started to play tenor most of the time. Here’s a peek into what I was playing in 2003:
63 Buescher 400
55 Buescher Aristocrat 141
Vandoren V16 A5 mouthpiece – Most Playing
Selmer S80 C* mouthpiece – Classical or Ensemble
vintage Martin mouthpiece – Classical
Bonade lig (backups are Harrison and Vandoren Masters)
I am using Rico Jazz Selects in 2 1/2 and Alexanders in 2 1/2 for most of my playing. I prefer a bright reed.
I use Hemke 2 1/2 for classical or when I want a darker tone.
May 2007 alto setup:
1960 Selmer Mark VI – Chicago Mouthpieces R Series Prototype or vintage Selmer Short Shank Soloist – Fibracell Reeds
1952 Buescher Aristocrat 140 – Chicago Mouthpieces R Series Prototype or Chicago Mouthpieces SJ – Fibracell Reeds
I inherited my VI and bought the Buescher after working with the 400 and 141 a bit and finding that they were too bright for the sound I wanted. I prefer a full tone with less higher partials.
Sonny Rollins had his 76th birthday yesterday and gave his fans a present by releasing nine videos from throughout his career. They’ll be up for a few more days so enjoy them while you can. Sonny Rollins Birthday Videos
I had the opportunity to review a new CD by Tim Price and Sue Terry. It’s a great free improv collection. You can read the review in the Reviews Section.