Morning fellow Sax nuts.
Friday, 30 September 2011
Thursday, 29 September 2011
Sax equipment you would like to see.
Anything you would like to see in my store give me a shout. You could do it on twitter if you want to.
Wednesday, 28 September 2011
Mastering the Blues Scale
Mastering the Blues Scale Vol. 1 Minor (PDF Book) | |
| Price: $12.00 | |
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Mastering the Blues Scale Volume 1: Minor
"Just play the blues scale!" All across the country, you hear this advice given in every band room. Students sit with blank looks on their faces as band directors tell them to use this or that blues scale on their solo. The advice usually doesn’t go much further than that and many kids end up playing solos that they are less than happy about. What many of these students need is a jump start. A few examples of what to play and how to play it...........Here you go!
In Mastering the Blues Scale Volume 1, I demonstrate using the Blues Scale to create great blues licks you can use in your own playing over minor grooves. From slow Blues, to fast Funk, to Rock and Roll. I show you how to go about getting your blues vocabulary
together as you greatly improve your technique with these essential blues licks and scales. Play along with this book at your own pace, as you learn hundreds of great sounding and easily adaptable blues licks and patterns in all 12 keys. Playing these patterns is a fun and exciting way to make that transition from knowing the Blues Scale, to actually having it in your ears and under your fingers.
These blues licks combine many of the idiomatic sequences, intervals and finger patterns, you really need to have down, if you want to get burning on the blues scale. If you are stuck playing your blues scales straight up and down, practicing these licks will soon have you playing with the technique and flexibility required to be able to play what you hear.
Mastering the Blues Scale Volume 1 Minorhas 100 great blues licks in all 12 keys. It is a PDF file that you can download immediately so you can get to work.
Thanks,
Steve Neff
If you're interested in a printed copy of the book. Click here to see it and some sample pages!
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Tuesday, 27 September 2011
Monday, 26 September 2011
Sax Joke
- How many alto sax players does it take to change a lightbulb?
Five. One to do it, and four to comment on how David Sanborn would have done it.
Sunday, 25 September 2011
Saturday, 24 September 2011
David Sanborn Mouthpiece
SAXZ David Sanborn Alto Saxophone Mouthpiece
August 13, 2011 By 5 Comments
This is a SaxZ “David Sanborn” metal alto saxophone mouthpiece. SaxZ is a company in Japan which is run by Mitsu Watanabe.
SaxZ David Sanborn Model Alto Saxophone Mouthpiece
Man, I wish I had this mouthpiece when I was a kid. When I was in junior high school, one of the first alto players I listened to was David Sanborn. I remember going to the library and getting the album “Voyeur”. That was the first time I listened to Dave Sanborn. It blew my mind because his sound was so different than the alto players I had listened to until then. I remember trying to play along with him and copy his sound. I spent many hours each day trying to get down his licks and sound. I did get many of his licks down but his sound was always very elusive for me. I knew nothing about mouthpieces back then and had no idea that there were different kinds. I didn’t know that you could sound different by choosing another mouthpiece. I actually remember going through a stage where I was playing a Caravan mouthpiece for classical auditions and I was still trying to get that Sanborn sound out of it. That was rough! (this Caravan had one of the darkest tones) The reason I would have loved this mouthpiece is that it propels you into the neighborhood of that raw Sanborn sound without too much effort.
I feel like the “Sanborn” sound is more of an extreme sound tone wise. It is very raw,bright,edgy and tough sounding. It’s right in your face. What Michael Brecker did for the tenor sound, Sanborn did for the alto sound. It’s not a middle of the road type of sound. If you are going for that type of sound you have to be bold and unapologetic about it. You have to play with confidence!
Here are some words about the mouthpiece from SaxZ:
“From SAXZ and Mitsui Watanabe in Japan are the *NEW* David Sanborn alto sax mouthpieces. These are replicas of the mouthpiece David has been playing for years and is available in metal, sterling silver, and hard rubber/resin!
This superb metal mouthpiece incorporates the most up-to-date technology while maintaining the traditional high-baffle style. Performance versatility is built into every aspect of this excellent mouthpiece.”
The mouthpiece does indeed look to be a replica of a metal Dukoff mouthpiece. As you can see in the pictures, there is a slight blemish on the baffle. I’m not sure if it came from the factory this way. The baffle is high and even and angles down into a medium small chamber. The high baffle and smallish chamber are what speed up the air and give a brighter more powerful sound to the tone.
SaxZ David Sanborn Model Alto Saxophone Mouthpiece
Personally, I don’t play with this type of alto sound. I haven’t played too much of this style since high school when I started getting into Phil Woods and Cannonball Adderley. Recording the clip below did take me back though. You can check out the clip and if you like that sound and style then you should give this mouthpiece a try. I have to warn you that this clip is a bit louder and brighter than others I have done.
“Sax-ccessories” in CA is carrying SaxZ mouthpieces and some other accessories. Brian at Sax-ccessories was kind enough to let me borrow this mouthpiece and a few others to review this week. If you like the David Sanborn sound visit his website and check one out for yourself! http://www.sax-ccessories.com/ .
Let me know what you think in the comments below. Thanks, Steve
SaxZ David Sanborn Model Alto Saxophone Mouthpiece
Stefano di Battista Italian Jazz
Friday, 23 September 2011
Thursday, 22 September 2011
Let me know about your gigs.
Come on lets get your gig lists in and i will post them on my gig page.
Blanford Marsalis
Send me your gig list.
Send me your gig lists and i will advertise them on my gig page. Anywhere in the world is fine.
Wednesday, 21 September 2011
Candy Dulfer Tour Dates
Hans Dulfer & Band
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Tuesday, 20 September 2011
Brian Setzer and his fantastic band,
Monday, 19 September 2011
David Sanborn Tour Dates
09/04/11 Tokyo Jazz Festival - Tokyo, Japan
09/06/11 Billboard Live - Osaka, Japan
09/07/11 Billboard Live - Osaka, Japan
09/08/11 Billboard Live - Osaka, Japan
09/09/11 Billboard Live - Tokyo, Japan
09/10/11 Billboard Live - Tokyo, Japan
09/11/11 Billboard Live - Tokyo, Japan
09/12/11 Billboard Live - Tokyo, Japan
09/14/11 The Zepp - Sapporo, Japan
09/30/11 Kent Stage - Kent, Ohio
10/01/11 - Cincinnati, Ohio
10/02/11 Southern Theater - Columbus, Ohio
10/04/11 Blue Note - NYC, NY
10/05/11 Blue Note - NYC, NY
10/06/11 Blue Note - NYC, NY
10/07/11 Blue Note - NYC, NY
10/12/11 World Cafe Live - Wilmington, DE
10/13/11 The Birchmere - Alexandria, VA
10/14/11 Ram's Head - Annapolis, MD
10/15/11 Boulton Center - Bayshore, NY
10/16/11 Infinity Music Hall - Norfolk, CT
10/18/11 State Theater - State College, PA
10/19/11 Musikfest Cafe - Bethlehem, PA
10/20/11 Center for Arts - Natick, MA
10/21/11 Fairfield Theatre - Fairfield, CT
10/22/11 The Egg -Swyer Theater - Albany, NY
10/23/11 Havana - New Hope, PA
10/28/11 Congress Hall - Lugano, Switzerland
Have a great week
Early morning off to schools to teach wish me luck and i hope you have a great week.
Sunday, 18 September 2011
My Fav Cannonball Adderley album
| Mercy, Mercy, Mercy! Live at 'The Club' | ||||
|---|---|---|---|---|
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| Live album by Cannonball Adderley | ||||
| Released | 1966 | |||
| Recorded | Capitol (Los Angeles) October 20, 1966 | |||
| Genre | Soul jazz Hard bop | |||
| Length | 41:07 | |||
| Label | Capitol | |||
| Producer | David Axelrod | |||
| Cannonball Adderley chronology | ||||
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James Morton great young English player
When the young saxophonist James Morton surfaced in London on fellow Bristolian Andy Sheppard's 50th-birthday gigs in 2007, he energetically linked Sheppard's loose-improv contemporary approach to a hot, gospelly energy reminiscent of Cannonball Adderley or David Sanborn. Morton regularly plays with Pee Wee Ellis, the former James Brown and Van Morrison sax sideman, and Ellis's searing sound and punchy accents have been a significant influence. Still, it's hard to make anything beyond a retro impact from a soul-jazz album celebrating the anthemic hooks of the Crusaders, or the preachy melodramas of the Hammond organ funk bands of the 1960s. Morton, however, has done just that. He and his sidemen (particularly the classy guitarist Denny Illett) have reworked this familiar idiom with a relaxed affection that reignites it. Morton ascends from wistful beginnings to hypnotic eloquence on Forgiven, turns God Bless the Child into a soul groover, in effect, and if he mildly sends up improv and swing on Skits 1 and 2, there's enough depth to this appealing set to show that he understands jazz from the roots up.
Long note practice
- Basic Long NotesTry to keep the note as straight and steady as possible, no wobbles, hiccups or vibrato. Use a keyboard or tuner to check intonation if you like.
- Play a B (1st finger left hand lower register) and hold as long as possible without losing the note or getting out of breath
- Repeat on the next note down chromatically until you get to low Bb (or the lowest note you have learnt)
- Go back to the B and repeat the process up to top F (or the highest note you have learnt), or higher if to practice altissimo.
If you have not yet learnt all the fingerings for the chromatic scale you can use a major or minor scale. If you don't have enough time on your practice session you can use a whole tone scale, in which case the next time you practice start on a Bb. - Long Notes with dynamicsThis is the same as above except that the notes start quietly, increase in loudness then decrease, or else you can start loud, get quiet, then loud again. If you like, use a slow count to make sure that the crescendo and decrescendo are even.It’s important to concentrate on the tuning; there is a tendency to blow flat as you get louder.
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