Mar/Apr 2008 , Volume 32, No. 4
Kenny Brooks, Ken Fischer, Frank Tiberi
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|ARTICLES THIS ISSUE
Concerto For Soprano Saxophone
by Timothy Roberts
Creative Teaching Techniques
by Steve Mauk
"Solving Mouthpiece Moisture problems"
Creative Jazz Improvisation
by David Pope
"World Music Doubling For Jazz Improvisation"
"The Sax Doctor"
"My Tenor Squeaks All The Time And It Won't Stop"
Rock 'n Roll Saxophone
by Andrew Clark
"Clarence Clemon's Solo On Rosalita"
New Saxophone Publicatons
by David Demsey
"The Jazz Musician's Guide To Creative Practicing"
"Music Medals Series For Saxophone"
Below 65 Hz From Brazil
by Gilberto Lopes
"The First J'Elle Stainer compact contrabass sax..."
Teaching And Performing Jazz Ballads
by Brian Kane
|Paul Wagner's Reviews|
A Case of Music
Billy Kerr's Reviews
Jazz Icons DVD Series
Live In 1958 - Duke Ellington
Live In 1963 & 1964, Dexter Gordon
Live In 1964 & 1966, Dave Brubeck
Live In 1964, Charles Mingus
Live In 1960, 1961 & 1965, John Coltrane
Frank Bongiorno's Reviews
Dick de Graaf
In The Grotto: The Fred Hess Band
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|Contemporary Jazz Saxophone
"Sound, Time, Feel"
by Skip Spratt
CONTEMPORARY JAZZ SAXOPHONE
This masterclass CD for Saxophone Journal is really about sound, time, and feel. What I have learned about myself while doing these recordings over the past few years is that sound and time are the primary considerations when I play, or teach, the saxophone. I feel sound and time should be of the utmost importance to every teacher, player, and student. Many trained saxophonists work with tuners and metronomes in order to better perfect their playing. The old adage “practice makes perfect” rings true, however, perfection is something to seek, yet often never truly obtained. I am no different.
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