You're one of the greatest educators I've ever come across in my life, in any field! It's so refreshing to learn from a teacher who questions how the teaching is done and is constantly working to improve it. Master saxophonist, and master teacher!
This is really excellent. I've played sax since 1959 and have never encountered such a clear and factually grounded description of altissimo. Thank you.
Hitting the soft part of your pallet with the air stream (from your previous video) is the best altissimo advice I’ve ever had, starting hit up to high C 90% of the time Thank you
This vdeo is just chocked full of great information and your altissimo notes sound amazing! I was able to get altissimo notes to flow out of my lil 'ol soprano sax, one day, without much effort. Somebody gave me a (unused) Bb clarinet reed to try. It worked marvelously. However clarinet reeds are considerably more narrow than soprano saxophone reeds and it eventaully became somewhat painful to use. So I said, "Nope." I can't use those reeds. I wonder, though, it it was the narrowness of he clarinet reed that made altissimo notes so easy.
Another brilliant video. It’s great that you’re giving things to try rather than trying to tell people ‘how to do it’. Using the TE Tuner to provide guide pitches also helps. I think half the problem students have is hearing the pitch they are going for and knowing if they are flat or sharp. It seems to me that the ‘eee’ sound is good to the top of the normal saxophone range but as you cross into altissimo you start to drop the tongue again.
Great information, Jamie. You are breaking new ground here. It's so nice to see some actual science rather than the usual opinions and guesses about playing altissimo. I love that you second guess your assumptions and revise as necessary. I recall your reassessing your assumptions about the likely cause of the "lip scoop" sound. The mark of a great teacher!
@GetYourSaxTogether Follow up to previous comment. I just subscribed to your channel, and I watched your 4 minute bonus video regarding embouchure advice. Superb! You taught what my teacher called "jazz lip" vs "classical lip" very well in just 4 minutes. This technique greatly helped my altissimo. Been playing 40 years and still working on it!
Another great tutorial, Jamie! I think one of the problems with learning altissimo is that we are told that it is hard to do before we try. When I was learning clarinet in grade school, my teacher didn't label those upper notes "altissimo". He just showed me the fingerings and told me to play the notes. I didn't know it was supposed to be hard. I still work through the various fingerings on my tenor to get the best altissimo notes (your charts really help) and the best for articulation, but I try not to think it is difficult while I am practicing.
Another very comprehensive video. I have the TTM course and can identify the additions that you’ve included. The bottom line seems to be that you’ve explained all the possible alternatives/options, experiment and find out what works best for you. Thanks Jamie
Hey Jamie, thank you for the great videos as always. I discovered Matt Walkins videos on UA-cam a little while ago and they really help me with the Altissimo struggles that I have been having in my life. I think it would be interesting if you did a video analysis of some of the MRI videos that he’s put on UA-cam. He has some on extended techniques as well that are fascinating to watch
Now i can stop hyperventilating during my practice sessions. Awesome breakdown to further my breakthrough towards perfecting my sound. Thank you Maestro Jamie. 👏🏼💥💥💯
Very Interesting to actually see the oral cavity changing and how it changes while play altissimo. Can't wait to to try it (can't do it now as it's 2:37 AM here as I type this. lol) Good night and Thanks Jamie!!
Great video Jamie, thanks! Very helpful to debunk some myths and focus on the useful techniques. Can't wait to try these. BTW, great tan mate. You're looking healthy and energised.
Muchas Gracias por ayudarnos a mejorar nuestro sonido, consulta, facilita llegar a las notas altísimas utilizando una boquilla de metal que tiene un ancho más chico que la de pasta?. Un Fuerte Abrazo y que tengas lo mejor para este nuevo año!!!!
I'd love to see those images for bari. I've been trying to do this for years. Some say the fingerings are the same, some say they're different. I've worked with overtones (some of these I still struggle with too). I've accidentally hit the high G once or twice on my C*, but I have yet to do it with my Kessler Custom (5) or my Kessler Jazz (7). I'm still trying though. I've just recently hit the front E and F (those are way out of tune in my bari) but I can't automatically play them yet. 😕 I'll see what I can get from your other videos in the meantime. I love your lessons.
V good vid. I can now play fairly fluently from E to altissimo G (and oddly, an even higher D or F or something whistle). But the front F key seems crucial The fingering diagrams from G# upwards seem to drop the front F key and just use variations on the usual keys with octave key. I don't even get a donkey from G# up.
This is great stuff! incredible. The best I can describe what I'm doing when the altissimo is working is blowing straight up through the top of my head which obviously can't be what's happening, LOL! I think that might be raising the soft palate.
Definitely more mpc, a more relaxed/less muscled approach. However, when the tongue lowers, I try to move the back of the soft palate towards the top of the mouthpiece beak. That may trigger the glottis constriction, not sure.
It would be interesting to see X-Ray video of about 15 different saxophonists producing the same notes to see if it looks more or less the same, or whether different mouth shapes, tongues, etc. result in it looking slightly different for each player. I'm wondering, because it could explain why some instructions work for some and different instructions work for others.
In my experience, it all comes down to mouthpiece and reed combination. For me, I can hit altissimo with some mouthpieces and not others. I tend to go better with smaller tip openings and medium strength reeds (opposite to what has been said in this video). Also, different saxophones have different fingerings. My fingerings on my yani are different to my yahama. Altissimo is easier for me on alto than tenor.
This is a video I have been waiting for and can’t wait for 9:30am to start to try this as it’s early (8:06am) Sunday morning. Thanks Jamie as I hope this might get me to the 3rd floor 😂
Very interesting, die to my experience the reed quality has a great influence. Often you get waves in the thin side,when they get wet, or asymmetrical shaped. I started to refine each, to get better results.😂
I started with the arched tongue like you are whistling, but as my playing matured and I started using my tongue differently my technique changed, but my altissimo stayed. Still not sure how I do it.
If you Put more pressure to the Reed and so shortening the free moving part it will vibrate faster and the Note will rise Up. As far as my Physik understanding tels me.
@@GetYourSaxTogetherI’ve been playing for 34 years, and have never figured out altissimo on alto, tenor, or bari. I’m a good player in the regular range though.
If you watch the throat during the xray video, there's a lot of movement in the throat, with the path greatly narrowing and the path shape becoming straighter.
Yes exactly right. The biggest change from each pair of notes, low to high is the throat narrowing, and as the top note in each pair goes higher so the throat narrows more and more. This is what happens when blowing on just the mouthpiece and altering the pitch, resonance in the oral cavity. You can see what I assume to be the laryx moving too. Now whether all the other changes come about because of that, or its the other way round I don't know. I'd like to see an xray video of using just the mouthpiece and changing pitch. Because it seems to me this is the key to everything including playing in tune.
E major scale three octaves to triple altissimo E: ua-cam.com/video/UwgfUI9PMWg/v-deo.htmlsi=7pPmNeFUd7kkWWmg I'll have to go back and play this again and figure out exactly what I did with my tongue, throat and embouchre. Notice I play a little sideways for the highest notes.
Instead of moving the jaw forward, I learned from my teacher to re-set my lower lip slightly forward. Remove a small portion of the fleshy lip behind your lower teeth to be in front of your lower teeth.
@@GetYourSaxTogether Not unusual. Teachers and players call it "jazz lip" vs "classical lip". Maybe I did not explain it well. When I wrote "re-set my lower lip", I meant permanently, not just to play a few high notes.
True you need a degree in physics (the mechanics of fluids and hydraulics) in order to understand to understand what is going on in the mouth and the mouthpiece. Taps, valves, events, venturis, pressure, swirls and eddies, vibration. I think a demonstration could be organised with pipes, water containers, gauge and elevation (for pressure) using different taps and valves as mouthpieces. If you ever get the chance to visit a city water work (aqueducs) you would be able to observe the slightest variation of speed and pressure just by the pipe vibration. It is so small and subtle that it can take hours just to close or open a valve, otherwise you can create an earthquake and break the whole system. Envision that the valves and pipes I am referring to here are so big you can almost stand in them.
Hey mate - I’d love you to show me the page in the Rascher book where he tells you HOW to play those notes in detail? Of course altissimo isn’t new, but seeing inside your body while you play IS.
Of course it doesn't have that. But when I used the book and applied the principles I can play altissimo. I don't know if seeing inside your body will help but go for it. Please understand I am not criticizing you or your teaching method. All I am saying is that playing above the "written" register is normal development in saxophone performance and is necessary in todays music industry. I don't believe we are breaking new ground. But what the hell do I know. I'm just a silly saxophone player. Take care brother. Peace. N
@@nicholasflores2982 to totally cool man. I guess it was the raised eyes emoji! 🤣 I agree with your main points, but the thing is many people can’t get above the palm keys no matter what they try. This is for them. If you can already do it - that’s awesome! 👍🏻
US sax players: who's overrated/underrated Overrated David Murray: howl without any rhythm, it's pretty much heard what he can do. Charles Lloyd: out of tune boring minor pentatonic scales all around Archie Shepp: he could not play in 1964 and has never been able since Kamasi Washington: high school level with horrible sound Shabaka Hutchings: it feels like 100 years of jazz never happened. Here we are back in 1899 in Jamaica Sonny Rollins: his ego destroyed his playing at 36, sorry for him Lee Konitz: has never been able to play with the minimum energy for his sax to sound good John Coltrane after ALS: belief does not justify this self-indulgence Wayne Shorter: record some beautiful compositions wasted by a sloppy game should have been sanctioned Ornette Coleman: as he said himself before a concert in Paris in 1988, he is especially known 'for playing the saxophone badly' Joshua Redman: mannered, mechanical with a repulsive sound. Composition without interest. Mark Turner: even if everyone repeats that it's good, my opinion will not change: it's boring Joe Lovano: the first time I heard it on a disc with Motian and Frissel I stopped the CD. The other times too. John Zorn: I'm told he's a genius...Ok then I'm a sardine. Underrated Rahsaan Roland Kirk: these albums are remembered as unforgettable festive moments. Gato Barbieri: opened the mind to the dimension, capacity and beauty of the instrument. James Carter: exuberant and spectacular technique bearing the heritage of its predecessors. Albert Ayler: a lit spirit that pierces through a sound and unique compositions from the depths of the ages Sidney Bechet: who had this technique and this power before him? Earl Bostic: an alien player who chose popular music but educated many sax stars Gary Thomas: crushing sound and sci fi compositions, the complete package Pharoah Sanders after Coltrane: left to himself, Sanders was capable of some of the most satisfying music ever to come out of a saxophone. Maceo Parker: powerful sound and flawless sense of rhythm, a model of joy and cheerfulness that has shaped RnB since the 70's David Sanborn: who can boast of having created the sound of modern pop alto sax with such magnificent highs? Steve Coleman: when he doesn't get lost in endless improvisations, he's a magnificent player who knows his BIRD from top to toe, coupled with a very powerful conceptualist Arthur Blythe: a sound that attracts the listener like a magnet Eric Dolphy: so individualistic and personal that no one has ever been able to imitate his tone and playing Jim Pepper: should be canonized just for his album Comin' and Goin'
You're one of the greatest educators I've ever come across in my life, in any field! It's so refreshing to learn from a teacher who questions how the teaching is done and is constantly working to improve it. Master saxophonist, and master teacher!
Wow, thank you!
This is really excellent. I've played sax since 1959 and have never encountered such a clear and factually grounded description of altissimo. Thank you.
Wow, thank you so much!
Hitting the soft part of your pallet with the air stream (from your previous video) is the best altissimo advice I’ve ever had, starting hit up to high C 90% of the time
Thank you
Glad it was helpful!
As someone who has a Masters in vocal performance this makes so much sense. Can’t wait to try it.
Great!
Your spellbreaking of the language and myth around this topic is so good.
Cheers!
@@GetYourSaxTogether I love you Jamie. 😍
This vdeo is just chocked full of great information and your altissimo notes sound amazing! I was able to get altissimo notes to flow out of my lil 'ol soprano sax, one day, without much effort. Somebody gave me a (unused) Bb clarinet reed to try. It worked marvelously. However clarinet reeds are considerably more narrow than soprano saxophone reeds and it eventaully became somewhat painful to use. So I said, "Nope." I can't use those reeds. I wonder, though, it it was the narrowness of he clarinet reed that made altissimo notes so easy.
Interesting question actually!
Another brilliant video. It’s great that you’re giving things to try rather than trying to tell people ‘how to do it’.
Using the TE Tuner to provide guide pitches also helps. I think half the problem students have is hearing the pitch they are going for and knowing if they are flat or sharp.
It seems to me that the ‘eee’ sound is good to the top of the normal saxophone range but as you cross into altissimo you start to drop the tongue again.
Thanks so much!
Great information, Jamie. You are breaking new ground here. It's so nice to see some actual science rather than the usual opinions and guesses about playing altissimo. I love that you second guess your assumptions and revise as necessary. I recall your reassessing your assumptions about the likely cause of the "lip scoop" sound. The mark of a great teacher!
I appreciate that!
Thank you sir for all the effort put in explaining this to us.
You're very welcome
@GetYourSaxTogether Follow up to previous comment. I just subscribed to your channel, and I watched your 4 minute bonus video regarding embouchure advice. Superb! You taught what my teacher called "jazz lip" vs "classical lip" very well in just 4 minutes. This technique greatly helped my altissimo. Been playing 40 years and still working on it!
Awesome man! Glad you’re enjoying the content. And yes, it’s not really a classical embouchure.
Mind blowing pictures and an excellent research. Thanks a lot!
Glad you liked it!
A quite superb and informative video. Outstanding stuff Jamie cheers 🍻
Thanks 👍
Another great tutorial, Jamie! I think one of the problems with learning altissimo is that we are told that it is hard to do before we try. When I was learning clarinet in grade school, my teacher didn't label those upper notes "altissimo". He just showed me the fingerings and told me to play the notes. I didn't know it was supposed to be hard. I still work through the various fingerings on my tenor to get the best altissimo notes (your charts really help) and the best for articulation, but I try not to think it is difficult while I am practicing.
Yeah, that’s awesome Bill, at least for the people like you and me who can just do it!
Another very comprehensive video. I have the TTM course and can identify the additions that you’ve included. The bottom line seems to be that you’ve explained all the possible alternatives/options, experiment and find out what works best for you. Thanks Jamie
Thanks 🙏🏻
Hey Jamie, thank you for the great videos as always. I discovered Matt Walkins videos on UA-cam a little while ago and they really help me with the Altissimo struggles that I have been having in my life. I think it would be interesting if you did a video analysis of some of the MRI videos that he’s put on UA-cam. He has some on extended techniques as well that are fascinating to watch
Great suggestion!
You deserve many more subscriptions, defeniitively.
🙏🏻
Amazing work Jamie
Thank you! Cheers!
Great video on altissimo!
Thanks!
It is a great tutorial, Mr Anderson. Fantastic lesson. Thank you so much.
You are very welcome
Now i can stop hyperventilating during my practice sessions. Awesome breakdown to further my breakthrough towards perfecting my sound. Thank you Maestro Jamie. 👏🏼💥💥💯
You got this!
Can't wait to get home and try this tips! Wonderful lesson as always!
Good luck!
Very Interesting to actually see the oral cavity changing and how it changes while play altissimo. Can't wait to to try it (can't do it now as it's 2:37 AM here as I type this. lol) Good night and Thanks Jamie!!
Thanks and good luck!
Great video Jamie, thanks! Very helpful to debunk some myths and focus on the useful techniques. Can't wait to try these. BTW, great tan mate. You're looking healthy and energised.
Thanks! 🙏
Muchas Gracias por ayudarnos a mejorar nuestro sonido, consulta, facilita llegar a las notas altísimas utilizando una boquilla de metal que tiene un ancho más chico que la de pasta?. Un Fuerte Abrazo y que tengas lo mejor para este nuevo año!!!!
🙏
I'd love to see those images for bari. I've been trying to do this for years. Some say the fingerings are the same, some say they're different. I've worked with overtones (some of these I still struggle with too). I've accidentally hit the high G once or twice on my C*, but I have yet to do it with my Kessler Custom (5) or my Kessler Jazz (7). I'm still trying though. I've just recently hit the front E and F (those are way out of tune in my bari) but I can't automatically play them yet. 😕
I'll see what I can get from your other videos in the meantime. I love your lessons.
Get the book From The Inside Out by Mark Watkins.
V good vid. I can now play fairly fluently from E to altissimo G (and oddly, an even higher D or F or something whistle). But the front F key seems crucial The fingering diagrams from G# upwards seem to drop the front F key and just use variations on the usual keys with octave key. I don't even get a donkey from G# up.
Good stuff!
This is great stuff! incredible. The best I can describe what I'm doing when the altissimo is working is blowing straight up through the top of my head which obviously can't be what's happening, LOL! I think that might be raising the soft palate.
Yeah, maybe that’s what you’re feeling!
Thanks for sharing!
Definitely more mpc, a more relaxed/less muscled approach. However, when the tongue lowers, I try to move the back of the soft palate towards the top of the mouthpiece beak. That may trigger the glottis constriction, not sure.
Thanks for sharing Noah 👍🏻
Thanks for the lesson 👌👌
You're welcome!
It would be interesting to see X-Ray video of about 15 different saxophonists producing the same notes to see if it looks more or less the same, or whether different mouth shapes, tongues, etc. result in it looking slightly different for each player. I'm wondering, because it could explain why some instructions work for some and different instructions work for others.
Yeh good point
Excellent Jamie 👍. Now back to my tea kettle impersonation practicing 🤣🎷
Perfect!
In my experience, it all comes down to mouthpiece and reed combination. For me, I can hit altissimo with some mouthpieces and not others. I tend to go better with smaller tip openings and medium strength reeds (opposite to what has been said in this video). Also, different saxophones have different fingerings. My fingerings on my yani are different to my yahama. Altissimo is easier for me on alto than tenor.
Well, there you go, once again, it shows her personal saxophone is!
This is a video I have been waiting for and can’t wait for 9:30am to start to try this as it’s early (8:06am) Sunday morning. Thanks Jamie as I hope this might get me to the 3rd floor 😂
Good luck! Let me know how it progresses.
Great job Jamie…
Thank you!
And how would you articulate the altissimo G if your tongue is on the top, my G comes out but I don’t know how to tongue it
You’ll have to join my inner circle for me to answer that kind of question I’m afraid. Impossible on UA-cam comments ☺️
After altissimo A do you like sort of move your lips forward, not like biting if yk what im saying 😂
See my other answer to you. ☺️
Very interesting, die to my experience the reed quality has a great influence. Often you get waves in the thin side,when they get wet, or asymmetrical shaped.
I started to refine each, to get better results.😂
👍
I managed to play Altissimo, now he comes out unexpectedly from time to time when I'm playing
Yup. No such thing as squeaks, just unexpected altissimo!
I started with the arched tongue like you are whistling, but as my playing matured and I started using my tongue differently my technique changed, but my altissimo stayed. Still not sure how I do it.
Proving that, it’s all very personal isn’t it?
So what do us Bari sax players try to do? Are you going to cover that separately?
The question Is: why a bari player should be interested in altissimo?
I wouldn’t describe myself as a baritone Altisimo expert, but apparently there is a bit more of a tongue Arch on Baritone.
Super!!!!
Thank you! Cheers!
If you Put more pressure to the Reed and so shortening the free moving part it will vibrate faster and the Note will rise Up. As far as my Physik understanding tels me.
The pitch will rise when you apply pressure to the reed but not the note itself.
Great advice! Enharmonics can help tremendously as well! You also need to hear the note in general as you try to hit it in tune!
Absolutely!
Maybe I haven’t gotten there yet, what’s different on Baritone?
Not a lot. Should be easier to play altissimo on bari actually.
@@GetYourSaxTogetherI’ve been playing for 34 years, and have never figured out altissimo on alto, tenor, or bari. I’m a good player in the regular range though.
@@BenG-vf7et yeah, it’s not always straightforward.
Very interesting
Thanks!
What do bari players have to do differently?
I wouldn’t describe myself as a baritone Altisimo expert, but apparently there is a bit more of a tongue Arch on Baritone.
I'm frustrated by altissimo, since I can achieve it easily for some notes - high D, for example - but most have eluded me for years.
Yeah, it can be very frustrating!
If you watch the throat during the xray video, there's a lot of movement in the throat, with the path greatly narrowing and the path shape becoming straighter.
Yes exactly right. The biggest change from each pair of notes, low to high is the throat narrowing, and as the top note in each pair goes higher so the throat narrows more and more.
This is what happens when blowing on just the mouthpiece and altering the pitch, resonance in the oral cavity. You can see what I assume to be the laryx moving too.
Now whether all the other changes come about because of that, or its the other way round I don't know. I'd like to see an xray video of using just the mouthpiece and changing pitch. Because it seems to me this is the key to everything including playing in tune.
Yeh it’s fascinating.
No one comments on the most obvious thing. Not the tone but the tan. What a nice tan Jamie 😀!
🤣
Does anyone has the experience of using these ideas when playing bass clarinet ?
I do.
E major scale three octaves to triple altissimo E: ua-cam.com/video/UwgfUI9PMWg/v-deo.htmlsi=7pPmNeFUd7kkWWmg I'll have to go back and play this again and figure out exactly what I did with my tongue, throat and embouchre. Notice I play a little sideways for the highest notes.
😮
Instead of moving the jaw forward, I learned from my teacher to re-set my lower lip slightly forward. Remove a small portion of the fleshy lip behind your lower teeth to be in front of your lower teeth.
That’s unusual. It’s usually the opposite for altissimo.
@@GetYourSaxTogether Not unusual. Teachers and players call it "jazz lip" vs "classical lip". Maybe I did not explain it well. When I wrote "re-set my lower lip", I meant permanently, not just to play a few high notes.
@@MarkPeotter oh right, yeh, I see what you’re saying. Sure, that’s my embouchure in general for real.
Starts at 6:36
👍🏻
True you need a degree in physics (the mechanics of fluids and hydraulics) in order to understand to understand what is going on in the mouth and the mouthpiece. Taps, valves, events, venturis, pressure, swirls and eddies, vibration. I think a demonstration could be organised with pipes, water containers, gauge and elevation (for pressure) using different taps and valves as mouthpieces. If you ever get the chance to visit a city water work (aqueducs) you would be able to observe the slightest variation of speed and pressure just by the pipe vibration. It is so small and subtle that it can take hours just to close or open a valve, otherwise you can create an earthquake and break the whole system. Envision that the valves and pipes I am referring to here are so big you can almost stand in them.
Cool. Thanks!
Great presentation, like juggling 7 balls, needs 4hrs a day in my experience. Get mouth fit and it’s easy 👍🏻
🙏
I suppose the technique of blowing air either up or down would result in jaw movement which would then have an effect? Off to annoy the neighbours. 😅
Yeah, could well be!
Now isn’t that interesting! Thanks Jamie.
My pleasure!!
Not quite right. There are numerous studies showing X-rays whilst playing.
Excellent! Please list them. 🙏🏻
ua-cam.com/video/dykV5ss14Gg/v-deo.htmlsi=stuPZrgSaO-E9X4m I recommend practicing overtones, because I played 5 1/2 octaves on one fingering! (low Bb)
👍
Weirdest thing is that when you show someone stood in front of you, they rapidy get it!
👍
It’s based on the overtones. See Sigured Rascher or James Houlik. This information has been around for almost 100 years. 🙄
Hey mate - I’d love you to show me the page in the Rascher book where he tells you HOW to play those notes in detail?
Of course altissimo isn’t new, but seeing inside your body while you play IS.
Of course it doesn't have that. But when I used the book and applied the principles I can play altissimo. I don't know if seeing inside your body will help but go for it. Please understand I am not criticizing you or your teaching method. All I am saying is that playing above the "written" register is normal development in saxophone performance and is necessary in todays music industry. I don't believe we are breaking new ground. But what the hell do I know. I'm just a silly saxophone player. Take care brother. Peace. N
@@nicholasflores2982 to totally cool man. I guess it was the raised eyes emoji! 🤣 I agree with your main points, but the thing is many people can’t get above the palm keys no matter what they try. This is for them. If you can already do it - that’s awesome! 👍🏻
It's like trying to teach tongue-challenged people how to roll their Rs!
Exactly 🤣
US sax players: who's overrated/underrated
Overrated
David Murray: howl without any rhythm, it's pretty much heard what he can do.
Charles Lloyd: out of tune boring minor pentatonic scales all around
Archie Shepp: he could not play in 1964 and has never been able since
Kamasi Washington: high school level with horrible sound
Shabaka Hutchings: it feels like 100 years of jazz never happened. Here we are back in 1899 in Jamaica
Sonny Rollins: his ego destroyed his playing at 36, sorry for him
Lee Konitz: has never been able to play with the minimum energy for his sax to sound good
John Coltrane after ALS: belief does not justify this self-indulgence
Wayne Shorter: record some beautiful compositions wasted by a sloppy game should have been sanctioned
Ornette Coleman: as he said himself before a concert in Paris in 1988, he is especially known 'for playing the saxophone badly'
Joshua Redman: mannered, mechanical with a repulsive sound. Composition without interest.
Mark Turner: even if everyone repeats that it's good, my opinion will not change: it's boring
Joe Lovano: the first time I heard it on a disc with Motian and Frissel I stopped the CD. The other times too.
John Zorn: I'm told he's a genius...Ok then I'm a sardine.
Underrated
Rahsaan Roland Kirk: these albums are remembered as unforgettable festive moments.
Gato Barbieri: opened the mind to the dimension, capacity and beauty of
the instrument.
James Carter: exuberant and spectacular technique bearing the heritage of its predecessors.
Albert Ayler: a lit spirit that pierces through a sound and unique compositions from the depths of the ages
Sidney Bechet: who had this technique and this power before him?
Earl Bostic: an alien player who chose popular music but educated many sax stars
Gary Thomas: crushing sound and sci fi compositions, the complete package
Pharoah Sanders after Coltrane: left to himself, Sanders was capable of some of the most satisfying music ever to come out of a saxophone.
Maceo Parker: powerful sound and flawless sense of rhythm, a model of joy and cheerfulness that has shaped RnB since the 70's
David Sanborn: who can boast of having created the sound of modern pop alto sax with such magnificent highs?
Steve Coleman: when he doesn't get lost in endless improvisations, he's a magnificent player who knows his BIRD from top to toe, coupled with a very powerful conceptualist
Arthur Blythe: a sound that attracts the listener like a magnet
Eric Dolphy: so individualistic and personal that no one has ever been able to imitate his tone and playing
Jim Pepper: should be canonized just for his album Comin' and Goin'
Well, I’m sure we can all agree on ONE thing at least - you’ve got some very strong opinions! Consider them shared. 😳
Overtones. That's a huge part of altissimo.
🙏🏻