 The Clarinet BBoard
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Author: William
Date: 2009-09-28 14:33
Just watched Harry Connick, Jr on the Today Show (NBC) which featured a great, however brief, tenor sax solo by a guy I had never heard of--Jerry Weldon. So, I Googled his name and got this video that I thought might be of interest to the many sax doublers on this site. Enjoy:
http://www.youtube.com/watch?v=DbHPwlZWMT8&feature=related
Kind of backs up what my friend Chuck Hedges (Milwaukee jazz clarinet great) once told me, "Just when you think you are good, there comes along some unknown guy that will knock you out".
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Author: Chris P
Date: 2009-09-28 17:28
Fantastic - I'll dig out my long neglected tenor and start doing some practice!
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2009-09-28 17:29)
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Author: Malcolm Martland
Date: 2009-09-29 11:14
Great tenor solo - but a technique question.
I tend to play clarinet double lip - well as much as possible after watching Tom Ridenour's videos! How about the sax - I'm trying to play tenor double lipped but not always? What do other doublers do on the sax?
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Author: Chris P
Date: 2009-09-29 12:07
There are definitely double lip sax players out there (though I can't name any), so if that gives you the sound you like, then by all means do what works best for you.
I tend to aim for a bright sound on saxes and inspired by the following players on each size - Jan Garbarek for soprano sound, Nigel Hitchcock for alto sound, Michael Brecker for tenor sound and not sure who inspires my bari sound but I go for a bright bari sound so it cuts through the section made of other bright players. In all instances I play metal Lawton 7*B or 7*BB on alto, tenor and bari and ebonite 6*B on soprano.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Roger Aldridge
Date: 2009-09-29 13:49
Malcom -- I use a double-lip embouchure on saxophones, clarinet, and bass clarinet. One thing I'd suggest in using a double-lip is to not put too much of the upper lip under your front teeth. Only a little bit is needed to raise the roof of your mouth. It's been my experience that this helps to give me a bigger and more vibrant sound. I've also found there's less of an embouchure shock with a double-lip when making quick doubling changes.
Chris -- I've gone the opposite direction in playing in a section. That is, having a darker sound...but one that projects. I use a Morgan 6C on alto & tenor. On Bb clarinet it's a Walter Grabner K14 and an LB on bass clarinet. With each of my set ups it sounds like others in the section (using various kinds of jazz mouthpieces) have more volume than I do in the immediate area; however, whenever I ask a trusted musician friend to go back into the audience and listen he says that my sound projects to the back of the performance space and actually sounds dominant. I think it would be a good idea to ask a friend to go back into the hall when you're playing with a band and see how well your sound projects.
The Morgan 6C is a remarkable mouthpiece. For me, it's the closest thing I've found for saxophone to a Kaspar on clarinet.
Roger
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Author: William
Date: 2009-09-29 14:55
I am single lip "all the way"--clarinets & saxes--although I try to use as much upper lip "feel" as I can in all my playing. On sax, I also go for the bright, cutting sound for solos (I like to be heard), but also a focused, more gentle sound for ensemble blend. My mpcies are: sop--Joe Annello; alto--"Hollywood" Gregory; tenor--"Studio" Guardala (metal); & bari--Rousseau "Jazz"; Winslow ligs on the first three, Harrison on bari. In spite of my "chronic" single lip, I have no problem switching instruments--clarinet to sax, sax to sax, etc. All of my reed setups from Eb clarinet to bari sax are all sort of "matched" as far as playing resistance is concerned--no reed seeming to be significantly "harder" of "softer" than another. Of course, differences of embouchure are present, but it is important to make an effort in chosing mouthpieces and reeds that "compliment", rather than "fight", each others playing characteristics--no matter if single of double lip is used.
BRW, in the video, does it seem that Jerry is using an Otto Link metal? Here's another look at Jerry (after Rebecca Dorsey sings, that is :>) nice stuff: http://www.youtube.com/watch?v=SAoXpgCfjYQ
Post Edited (2009-09-29 15:05)
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Author: Ed Palanker
Date: 2009-09-30 01:17
There are great players on every instrument in every type of music, they just didn't get their break. You know, being at the right place at the right time. They're all over the place, we just don't hear about them
ESP http://eddiesclarinet.com
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Author: Chris P
Date: 2009-10-01 00:21
This is the kind of alto sound and playing style I like:
http://www.youtube.com/watch?v=RKUDRq4kpXQ&feature=related
Unusual frontline instead of five saxes - bass clarinet, clarinet/soprano, alto, 1st and 2nd horns!
And a clip of the then young Nigel Hitchcock http://www.youtube.com/watch?v=8oxg1UfMjD0 - he borrowed my alto flute and bari sax a few years back to record a soundtrack, and gave me two of his CDs and £50. Great bloke.
Though in essence it's David Sanborn's playing that's the inspiration to many.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2009-10-01 01:01)
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Author: Roger Aldridge
Date: 2009-10-07 17:43
Chris,
Thanks for the link to the Manhattan Jazz Orchestra. That's my kind of band!
Chris Hunter is a superb player. Are you familiar with his work in the Gil Evans Orchestra?
Roger
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Author: Chris P
Date: 2009-10-07 19:59
No, but I'll definitely be investigating that. Thanks for the pointer!
Since seeing this video of 'Embraceable You' I haven't stopped playing it whenever I'm doing practice on alto (I'm using a Best Brass e-Sax mute so I dont' annoy my neighbours!). Good ol' YouTube!
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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