NovDec 2009, Volume 34, No. 2
FEATURING
Eric Darius, Brian Horner, Alex Kontorovich
Eric Darius, Brian Horner, Alex Kontorovich
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ARTICLES THIS ISSUE
NovDec 2009
Saxophonists Prepare: Meet Thy Maker
by Steve Goodson
New Saxophone Publications
by David Demsey
"Serenade: Music For Sax & Piano"
by M. Zachary Johnson
"Jazz Phrasing For Beginners"
by Greg Fishman
Creative Jazz Improvisation
by David Pope
"Symmetry Of The Octave In Jazz"
The Sax Doctor
by Emilio Lyons
"Checking Flute Pads, Replace Rather Than
Repair, Oiling Keys, When To Overhaul"
A Saxophone Lesson With
by Greg Banaszak
"featuring James Romain"
The Saxophone Quartet
by Susan Fancher
"World Sax Congress XV In Bangkok"
Rock 'n Roll Saxophone
by Andrew Clark
"Jamming In Gamla Stan"
Funeral Of A Lifetime
by Javier Arau
"My Experience Playing Walter Cronkite's Funeral"
Creative Teaching Techniques
by Steve Mauk
"Variety In The Private lesson Routine"
Clair de Lune
Mi-Bemol Sax Quartet
Runaway Horses
Filip Davidse
Billy Kerr's Reviews
World On A String
Donny McCaslin
The Monterey Quartet (2007)
Chris Potter
Frank Bongiorno's Reviews
Repercussion
Mike DiRubbo
Crossfire
Jim Snidero
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Masterclass/Play-Along CD
by Skip Spratt
Welcome to this Sax On The Edge masterclass and play-along CD for Saxophone Journal. As the name implies, the compositions on this masterclass CD celebrate a more bold and aggressive side of the saxophone. A bit of edge in one’s sound can be a beautiful thing when implemented in the right situation. It is here, with the traditional marriage of sax and guitar that some “Sax On The Edge” is just what the doctor ordered.
Blues and Rock guitar players have long influenced saxophonists with their sustained phrasing and bluesy harmonic content. The long, clean sustain, or crunching distortion, both require the use of a unique and complimentary saxophone sound. Creating the right soundscape with guitars may mandate a straight sustained tone, or perhaps even screams, growls, and groans.
For twenty-five years I have shared the stage with some very fine guitarists and electric bass players. Learning how to find common ground can help make for a great musical experience. One of the highlights for me was, and still is, playing with Vince Colella and Chico Huff who have contributed to this masterclass CD. Vince, Chico and I played in a variety of settings over the years, most notably with Atlantic City vocalist, Kathy Wilson. In a casino industry where money often mattered over music, Kathy Wilson’s band was always about the music. It is my pleasure to be reunited with Vince and Chico here on this CD.
Blues and Rock guitar players have long influenced saxophonists with their sustained phrasing and bluesy harmonic content. The long, clean sustain, or crunching distortion, both require the use of a unique and complimentary saxophone sound. Creating the right soundscape with guitars may mandate a straight sustained tone, or perhaps even screams, growls, and groans.
For twenty-five years I have shared the stage with some very fine guitarists and electric bass players. Learning how to find common ground can help make for a great musical experience. One of the highlights for me was, and still is, playing with Vince Colella and Chico Huff who have contributed to this masterclass CD. Vince, Chico and I played in a variety of settings over the years, most notably with Atlantic City vocalist, Kathy Wilson. In a casino industry where money often mattered over music, Kathy Wilson’s band was always about the music. It is my pleasure to be reunited with Vince and Chico here on this CD.
Sax ON THE EDGE
CD Tracks
1 Sax on the Edge Intro, 02:16
2 The Saxophone Sound, 00:51
3 The Songs, 00:51
4 Casserole De Shufflé (full performance), 05:14
5 Full Circle (full performance), 05:16
6 Straight And Narrow (full performance), 03:55
7 Casserole De Shufflé (tenor sax play-along), 05:14
8 Full Circle Final (tenor sax play-along), 05:16
9 Straight And Narrow (tenor sax play-along), 03:55
10 Conclusion, 00:52