Відео

My trick for playing outside is when it's cold, I use a shorter saxophone neck so I can tune up high enough to not be flat in the cold air. I also remind the guitar and bass players to tune up because stringed instruments get sharp in the cold. When it's hot I pull the mouthpiece out as needed. (oops, wrong topic?) Anyways, I like to play "outside" sometimes because it sounds great when you come back in. (resolution)

I am both a jazz saxophonist and educator. Your concepts are great, and I get what you're talking about to a certain degree. I too like john coltrane.Listen to him for years now. A little bit of constructive criticism here. If you're gonna do this video like this, you need visuals, and you need to slow it down. Especially for players out there who haven't develop the theory behind it. I'll be honest.I wasn't sure when I was watching you whether this was an educational video or just a commentary video. Take one concept at the very least. Have a whiteboard with you. Write out what you're talking about and go from there.

Would love to hear a video about Wayne!

Great idea/approach

do more videos on how how to get those pattern to fit the changes!

Great sound!

Absolutely agree.

Its the Melody!!! Perfect. Thanks

Man what a Trane sound

Very helpful, very wise. Thank you.

Hi man after 8years ive come back to saxophone and i have noticed that d2-f2 sound akward almost deaf soundish. Is it me or my sax might be not set correctly?I use antigua 4240 tenor with berg larsen 95/2/sms.

This is pretty much my approach also, except that I usually take a phrase that catches my ear from a solo then analyse it to figure out the DNA of the sound, then create as many variations as I can so I can make the sound my own. Just learning licks mechanically never worked for me. This kind of approach is a much richer experience imo. Thanks for all your great insights.

Nice approach! Was inspiring, thanks for sharing!

Oddly enough, I'm the opposite. I have never had issues with sound (but I also worked on it so much it's ODC levels...) I have trouble with technique..someone fix me please..seriously. My technique is sad as hell, but sound is real good. 28 years + playing and oof..

Thanks for the lesson brother keep em' coming!

You're so close to explaining clearly some deep cool stuff. Please, can you re express any gray area stuff and re-Think how to express it clearly what you've Already said, or I definitely have some questions. Thank you

Nice Banks! Merry Christmas!!

Your video caters to people that already have a large amount of knowledge of jazz theory. I hope there are plenty of people that can really follow everything you're saying. I'm a jazz musician with a degree in music and you lost me after a while.

Am i bad because I lost interest as soon as he said, "...I didnt want to copy Coltrane"?!🤣🤣 But no it sounds great👍

Hello. We have same approach of music. You play anything as long as it's related to "known" scales like major minor and diminish augmented, I also love those pentatonics shapes and also arpeggios like philip glass music , it makes solos so fun to play. I almost never use licks anymore. Just movements and shapes and try to think only about the chord progression not to be lost. The difficulty in this approach is to apply this to ballads... It's possible but sometimes it's harder to do it in a smooth and delicate way. I hope to meet you one day and jam together. Bless !

You unlocked your voice! Sounds beautiful.

"this one trick" like what? Where was that minor third talk going after all? Must be the most non pedagogical lesson ever

After 15 minutes I still have no idea what you mean.

🎉

Truthful, good & beautiful 🎉

killer

Bruh you’re talking about “if I could draw it it would look like a triangle with three circles” just draw it for me on a whiteboard plzzzz 😂

Are you tensing your diaphragm as you’re blowing?

Dig it Banks you be very talented and nice writing!😎

Your sound and style, as demonstrated herein, seem to have jumped out from the "J- Trane."❤ I adore it❤

You know Trane had his link worked on (59?60?) and he was forced to go nutzballs looking for mps. He said he was never able to find a sound he liked again. He famously would get literally crates of pieces. So amazing how he only was recording for 11 years before he passed, yet he changed the face of music and sax and improv 3 distinct times. Only Miles has more innovation smackdowns. Also, It wasnt really hard to get his discography. We all spent many hours in record stores (that were ALL over aplenty) from Lush Life to Om. And if you knew me, i used to host listening hangs couple times a week if i wasnt gigging: vinyl, herbs, and everyone gets a turn to choose an LP side. Once the needle is down, anyone who talks is asked to leave :) Great to hear you bringing the info to cats brother, keep it up!! And lets get up at the studio soon!

Nice!!!

Zen of tone, sounds great man!

Your videos are simply amazing! I am subscribed and look forward to more from you. Thank you

Music and Arts...which one?

I transcribed the pattern @3:20 and I'm not sure what group (C, Eb Gb A), (Db, E, G Bb), (D, F, Ab, C) of diminished this is coming from. Can you explain? I guess I'm expecting to hear at max, 8 tones, all coming from one these groups, however I hear tones across more than one group.

Amazing tone

I love the sound of that Link, man. Sub tone seems a little stuffy, but the tone is really complex and grabs ya!

Yo Banks, check out guitarist Joe Diorio for some great outside playing. If you're not already familiar.

Meandering and confusing. Eliminate the words, right, you know, kinda when teaching bro.

The soft moaning 'Coltrane' vibe! A nice fit with the vintage tenor.

nice sound on the horn dude

It would help if you had some visual aids. i.e. notes on a staff etc.

I played outside when I made so much noise on my horn my landlord told me to go outside in the field and play

Pick any two intervals, and if I were you, I would start with the small ones, whole step and half step. Strictly alternate between these two intervals changing direction wherever you choose to do so. From that basic concept, emerges a massive world of non-harmonic melody material. TRULY outside. The consistency of the two strictly alternating intervals creates all the continuity the listener needs for it to not sound like a bunch of nonsense. The strength of the melodic motion is plenty enough to overcome the restrictions of the harmony. You don’t even necessarily have to resolve this stuff. You could be playing on a minor chord and end a phrase on a flat second, pick back up on a flat sixth or flat fifth and keep going. Drop a comment on my most recent video, and I will share a 12 page PDF I wrote that digs pretty deep into this concept.

You had 15 minutes to say what…or was you just trying to play🎶🎵🎶🎷

Is it a system or not a system but just a system that’s not really a system 😮🎶🎶🎵🎷

I think you sound fantastic!!!! You should write these down, great job.