Académique Documents
Professionnel Documents
Culture Documents
JulyAugust 2014
Saxophone Today
Billy Kerr
Nancy Newman
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19
15
JulyAugust 2014
25
Thomas Erdmann
Susan Fancher
David Demsey
Steve Goodson
Andrew Clark
Feature Interviews
Billy Kerr
Nancy Newman
ST Reviews
Hip Licks For Saxophone
Larry Teal Biography
Evolution Of Keywork
Just Add
Another Key
63
Billy Kerr
28
Andrew Allen
61
Frank Bongiorno
58
Skip Spratt
In Blues Style
Shunkffle O Blues
43
56
38
David Babich
Skip Spratt
Eugene Rousseau
David Camwell
Good Time
Is Of The Essence
Consortiums
New Works For
Saxophone
Saxophone Today
www.saxophonetoday.com
36
David Pope
Beyond Boundaries
Brainwave Entrainment:
And The Creative Mind
www.saxophonetoday.com
COVER PHOTOS
Billy Kerr
Photo courtesy Billy Kerr
Nancy Newman
Photo courtesy Nancy Newman
July/August 2014
New JodyJazz
JET Alto available
in tip openings 5 10
Visit JodyJazz.com for more info.
Billy Kerr
Billy Kerr Interview By Thomas Erdmann
July/August 2014
Saxophone Today
like UNC Jazz Press and Opus 102 Editions Musicales, and
his writings have been featured in not only this magazine
but also Saxophone Journal and Planet Jazz. And oh yeah,
Kerr and Nancy Newman, another exceptionally talented
multi-woodwindist, make up one heck of a married couple
saxophone double threat.
I always like to start the interviews asking about equipment.
Why do you play a Yamaha Custom Z soprano but a Selmer
Mark VI alto and tenor?
Ive had the alto and tenor for years. I got both of them in
1981. The story behind the tenor is we had a robbery with
the (New York Saxophone) quartet in 1980. They got my
tenor, Dennis (Anderson) alto and Wally Kanes clarinet.
I had insurance, so I bought another horn. At that time I
www.saxdakota.com
pjlabiz2@aol.com
bought an 85,000 Mark VI. It was the hot horn at the time
one horn to the other. Each of them is the same number
because Michael Brecker was using it, and it was a good
mouthpiece and theyre identically the same. I find the
horn but I didnt like it. A year later I called Eddie Daniels,
products to be amazingly consistent and well made.
who always had horns, and told him I was looking for a
tenor. He had three or four horns
There are many reasons why
he was willing to sell. He said
youve been so incredibly
Billy Kerrs Equipment
he had a 217,000, but I told him
successful over the years as a
Soprano Yamaha Custom Z, with a Selmer
it was too high a number. He
musician. One of them is your
S80 (D) mouthpiece, an Optimum ligature and
said, Do yourself a favor, buy a
incredibly strong abilities on
Vandoren Traditional blue box #4 soprano reeds.
saxophone and not a number. So
not just multiple saxophones,
Alto Selmer Mark VI with a Vandoren V16
I went to his house, bought one,
but youre also a great flute and
A7 (S) mouthpiece, an Optimum ligature, and
and have had it ever since. He
clarinet player. To be a working
Vandoren ZZ #3 alto saxophone reeds.
and I still talk about that horn
saxophonist in the 21st century,
Tenor Selmer Mark VI, with a Vandoren V16
when we see each other from
do you believe its essential for
- T8/Medium Chamber, an Optimum ligature, and
time to time. When I was with
saxophonists to learn to play the
Vandoren ZZ #3 tenor saxophone reeds.
the quartet we were with other
flute and clarinet?
Clarinets Buffet DG Model (Bb & A), with
companies, like Yamaha and
These days the business is
a Vandoren 5 RV Lyre mouthpiece, an Optimum
H-Couf. Eventually I went with
so different. When I was coming
ligature, and Vandoren V12 #3 - 4 reeds.
Keilwerth, but whenever those
up, in the 60s and 70s, if you
Eb Clarinet - Buffet R13 with a David Hite
relationships ended I always
wanted to make a living as what
mouthpiece and Vandoren Traditional blue box #4
went back to the Selmer. One
we used to call a commercial
Reeds.
of my New York buddies, Lew
musician, you had to play the
Piccolo Pearl, Grenaditte Body, Model PFP
Tabackin, and I were always
saxophone, the clarinet and the
105E
trying horns. Hed say, The Mark
flute. The kicker was that in
Flute Pearl Maesta, Pristine Silver, Model
VI has the truth. For me thats
those days you had to be able to
9701 RBE
true. The story is the same with
play each of those instruments
Alto Flute Pearl, Model PFA 206S
the alto which I bought in 1981
like it was the only thing you
Bass Flute Pearl, Model PFB-305BE
and have been using it ever since.
played. The guys that were our
RR 200 Glass Reed Resurfacer
It will be two years this August
predecessors, those who were
Microphones Clarinet (AMT WS) and
when Yamaha came out with
there before us, were the guys
Saxophone (AMT Roam 1 Elite)
the Custom Z model. According
who were the veterans of the big
to the local rep its supposed
band era. They had been in the
to be a modified version of their model 62, which they had
Dorsey brothers and Goodman bands, bands like that. They
in the 1980s. They had a special four-day showing where
filtered into the studios and became the studio players.
they had 100 horns available. There was no pressure, they
The studio system was actually gone by the early 70s. It
just wanted our evaluation. I ended up buying one. It turns
was amazing, the studios just got rid of their staff bands.
out about a dozen of us here in Los Angeles bought one at
Those musicians then filtered into the Broadway shows,
the show. Pete Christlieb and a whole bunch of other guys
which was, in the 70s, the place to make a living in New
bought one. Its a good horn and thats why I bought one.
York. The musicians were all really good doublers. They
could play. Those of us coming into the business at that time
You use Vandoren mouthpieces and reeds almost exclusively.
as kids, I was actually not quite 30 when I started doing
What is there about their products that make you go to them?
that, had to be able to play to those expectations. Thats
One thing is they are amazingly consistent, including the
what we did. We learned to play all those instruments.
reeds. I play three saxophones, alto, tenor and soprano, I
These days, that business is gone. I have friends in New
dont play baritone anymore, and I play clarinet, a little
York who are my age and were on top of the heap, who
bass clarinet, a little E-flat clarinet, and I can get almost
are not working anymore, and a lot of them have given up
every reed that comes in a Vandoren box to work on my
playing. This is astounding to me, I cant imagine ever giving
instruments. I was a student of Joe Allard, so I learned
up playing. There is just no opportunity for those musicians
how to fix reeds, but out of a box of 10 I can get eight that
to work anymore.
will work. Sometimes I can get the whole box to work.
So now there are kids coming into the business who are
The mouthpieces are the same. Ive been using the tenor
not faced with having to play the flute and clarinet. Now
mouthpiece for the last eight or nine years, the T77. When
having said that, there are still shows that get played,
you try one, then try another of the same kind and number,
the Broadway shows are played in colleges, high schools,
theyre basically the same mouthpiece. In the old days, going
community groups, etc., and they hire local musicians. A lot
back to the 60s when I was in school, youd try two Otto Link
of these kids, in their 20s, do these shows and a lot of them
7*s and they would be completely different.
are just not qualified to be playing those shows. Kids come to
The Vandoren products are all amazingly consistent. I
me and say they are doing such and such a show and there is
have a couple of different clarinet mouthpieces I use. While
a piccolo part they are terrified of because they cant play it.
I dont play a lot of A clarinet anymore, I do use different
Well, I dont know what the answer is.
mouthpieces on the A and B-flat clarinet because I treat
To me it is still important, as a saxophone player, to be
them like a double; I dont like switching mouthpieces from
able to double on the other instruments. You know, its not
8
July/August 2014
WWW.ROVNERPRODUCTS.COM
WWW.ROVNERPRODUCTS.COM
10
of the draw.
There are no shortcuts to building your abilities to be able to
handle something like that, are there?
I dont think so. I havent found any. You have to practice
seriously.
You were a member of the New York Saxophone Quartet for
18 years. They perform both jazz and classical music, not
only on the same concerts but on the same recordings. I really
loved your recording of Bachs Fireworks Music from the New
York Saxophone Quartet recording. You also recorded, with
the New York Saxophone Quartet, on the Free Trade CD,
which the NY Sax Quartet did with the Gerald Danovitch
Saxophone Quartet. That really is a brilliant recording. Do
you think its possible to be successful as a working musician
in the 21st century without being proficient, to some degree, in
both classical and jazz/commercial music mediums?
I dont think so. I dont think you can really be a successful
jazz player without some classical training. On the Phil
Woods DVD, A Life In E-flat, he talks about his early days
of going to school and going to Juilliard after growing up
in Springfield, Massachusetts; he was a clarinet major. He
says, In those days you learned music, and you picked the
style later. That was how I grew up, and that was how the
guys in my generation grew up.
Whats happened since then is a whole slew of kids have
come in from schools who have only learned how to play jazz.
Some of them play pretty good jazz, not great, but pretty
good, and they can really get around their horns. They cant,
however, play music. They dont know how to play a phrase
or a lot of things you learn in music. To me, you need to
study music, study what the instrument is supposed to do,
and then you can work the other styles into your abilities
later. Also, in any given situation you almost always have
to play something that is at least classical music like. Years
ago, when I was living in Montreal, on something like the
100th birthday of George Gershwins birthday, I did a club
date with a 10 piece band. We were playing a show. We
get to the first rehearsal and were playing Rhapsody In
Blue. The solo was in my chair. What if you dont have that
training? Are you going to say, Uh, look, I cant play this,
can you put it on the synthesizer? Thats not going to work.
I can always tell when someone doesnt have the training.
Your first CD as a leader, The Eagle Has Landed eh?, is
a wonderful tour de force of not just great blowing, but also
fantastic musicianship among all the members of your band,
and you sound incredible. These days, it seems, everyone who
can records an album, many times well before theyre ready.
You waited to record and release this, your first recording as
a leader, until after you were well established as a musician.
Why did you wait until later in life to release a recording as
July/August 2014
a leader?
The point of doing it was
opportunity. I was about 53 when
I released that album. When I
was in New York, I was one of
the lucky guys. I always worked.
I got my first Broadway show
in 1976 and was never out of work for over 20 years. I was
just lucky. I was busy making a living. I started in the New
York Quartet in 1978 and stayed in it until I left New York
in 1995. I was just always playing. There was really never
an opportunity or desire to do a recording as a leader. I
was always playing jazz, and I was working very steadily
and quite happy. When Nancy and I got married I moved
up to Montreal in 95. There wasnt as much work there as
in New York. I managed to get what work was there, but
after a couple of years that started to disappear. I had the
opportunity to form a band, at first a quartet and then a
quintet, and we started playing gigs around town.
One of the great things about Canada is all of their artistic
grants. The grant I got at the time was a FACTOR grant.
Its a Canadian national grant. I applied for it, met the
criteria, and the grant paid for half the cost of the record.
We did it, and then the band and I went on two tours the
first year it was released, promoting the album. I was able to
do the record because for the first time I had the time to do
something like this, and I took advantage of the situation.
I was also able to do a lot of writing for the group. I was
fortunate to have the same guys in the band for over three
years.
12
Saxophone Today
http://www.youtube.com/watch?v=Avo_5JiP6w0
13
As A Leader
The Eagle Has Landed eh? (self-released, 1999)
With Others
Freddie Cole, Joey DeFrancesco, Bob Florence, Lorraine
Fontaine, Don Habib, Steve Huffsteter, John Labelle,
Maureen McGovern, New York Neophonic Orchestra, New
York Saxophone Quartet, Osland Saxophone Quartet, John
Pizzarelli, USC Vocal Jazz Ensemble
Movie Soundtracks
Chorus Line, Little Drummer Girl, Reds
Cast Albums
Gypsy, Legs Diamond, My One And Only, Threepenny
Opera, Wings
Television Commercials
Dunkin Donuts, Lipton Tea, McDonalds, Ponderosa Steak
House, Posner Cosmetics, Quaker Oats
Television Shows
CBS After School Special, CBS New Years Eve Special,
Danny Thomas Telethon, Democratic National Convention,
Grammy Awards, Miss America Pageant, Montreal Today.
Sesame Street, Super Bowl Half-Time Show, Tonight Show,
Tony Awards, Ultimate Manilow
July/August 2014
By Susan Fancher
Click Blue Links To View Websites & Videos
Saxophone Today
15
16
YouTube Videos
To hear Carl talking about his piece on YouTube, and
listen to the first section of the piece performed by students
at Case Western University, click the next link:
https://www.youtube.com/watch?v=NNoNmzmfIA8
Iridium Quartet
The Iridium Quartet has been a strong champion of
Schimmels quartet music, performing and recording Into
Xylonia, and commissioning and premiering Peregrinations
at the World Saxophone Congress in Scotland. Drawing upon
a rich history of nearly ten years of shared collaboration,
saxophonists Paul Nolen, Marcos Coln, Paul Forsyth
and Eric Lau join forces in the Iridium Quartet. All four
members are veteran chamber musicians as well as soloists.
The individual members have performed and given master
classes throughout the United States, Puerto Rico, Brazil
and the UK. Iridium members have also won top prizes in
competitions including the MTNA National Chamber Music
and Solo competitions, the North American Saxophone
Alliance Solo Competition and were semi-finalists in the
Concert Artist Guild International Competition.
Paul Nolen is known for his vibrant teaching and is in
demand throughout the U.S. and abroad as an educator.
He has given numerous master classes and lectures,
including recent classes at the Brevard Music Festival in
North Carolina, the University of Missouri at Kansas City
and the University of New Mexico. Nolen currently teaches
saxophone and chamber music at Illinois State University in
Normal, Illinois.
Marcos Coln was born in Caguas, Puerto Rico. He holds
a Bachelor degree from the Puerto Rico Conservatory of
Music, where he studied saxophone with Wilfredo Corps, and
a Master of Music degree in saxophone performance from the
University of New Mexico under the tutelage of Eric Lau.
Mr. Coln has won various awards and competitions such as
the MTNA Competition for the State of New Mexico in 2008,
Alternate Winner for the MTNA Southwest Competition
in 2009, the Joyce Walker Foundation Award Competition
in Las Cruces, New Mexico and the UNM Concerto
Competition in 2009.
Paul Forsyth joined the faculty of Northwestern State
University of Louisiana in the Fall of 2007. He received his
Doctoral and Masters degrees in saxophone performance
from Michigan State University, where he was the recipient
of the prestigious saxophone teaching assistantship in 20052006. His primary professors were Joseph Lulloff, Diego
Rivera and Ron Blake. A native of Knoxville, Tennessee,
July/August 2014
The Iridium Quartet has been a strong champion of Schimmels quartet music,
performing and recording Into Xylonia, and commissioning and premiering
Peregrinations at the World Saxophone Congress in Scotland.
Forsyth received his Bachelors degree in music education
from the University of Tennessee under the direction of
Paul Haar, Mark Tucker and Jay Romines. As a top-call
saxophonist in northern Louisiana, he has performed
with such performers as Regis Philbin, Lew Soloff, the
Temptations, Bobby Vinton and Bill Watrous. He has been
on faculty at Albion College, Spring Arbor University, and
Blue Lake Fine Arts Camp.
Eric Lau joined the faculty of The University of New
Mexico in the Fall 2003. He received the Doctor of Musical
Arts and Master of Music degrees from the School of
Music at Michigan State University as a recipient of both
the Catherine Herrick Cobb Fellowship and the Deans
Recruitment Fellowship. He graduated summa cum laude
with his undergraduate degree in saxophone performance
from Louisiana State University. His major teachers include
Joseph Lulloff, James Forger, Andrew Speight, Branford
Marsalis and Griffin Campbell. An active recitalist, Eric Lau
has performed throughout the United States, Puerto Rico
and Brazil.
Peregrinations In Praise Of The One Who Observes
The Sounds Of The World
Like his first quartet, Schimmels newest quartet carries
an imaginative, poetic title and, though specific sections
are not given separate titles, the score indicates a series
of characters or moods from Serene and Glacial, to
Intense and Ecstatic, to Quick and Agitated, always
returning to Serene. I asked Schimmel what inspired
the new quartet. He replied that the origin was a melody
of goeika, a Buddhist song tradition associated with
pilgrimage in Japan. He noted that Buddhist pilgrimages in
Japan often involve visiting Buddhas or Kannon. A lover of
wordplay, Schimmel combined the very disparate concepts
of goeika (in praise of Kannon), canon and jazz (Cannonball
Adderley). The three concepts also happened to have in
common the word mercy. Schimmel writes, The goeika
and a 15th century canon (Obrecht) are quoted explicitly;
the Adderley is more concealed. Throughout the work, he
Saxophone Today
17
A Look Back...
...1921
In 1927, Vitaphone made a short film #480 of Ruth Glanville playing Saxophobia.
18
July/August 2014
By David Demsey
Saxophone Today
19
20
July/August 2014
Steve Goodson
There is substantial anecdotal evidence that Sax had working examples of the saxophone that he was showing to
friends and potential customers as early as 1840, and this date is generally accepted as the official birthday of
the saxophone. What we dont know much about is the evolution of the keywork and mechanism.
Saxophone Today
as Gymnase Musical.
The saxophone continued to gain acceptance, and
in 1858, Adolphe Sax himself was appointed Professor of
Saxophone at the Paris Conservatory. All of the instruments
were, of course, constructed by Sax himself, and there was
almost no variation in the keywork or mechanism. The horns
were keyed from low B to high Eb, but very significantly, Sax
taught his students that the saxophone had a four octave
range! The instruments Sax (the only source) produced
used double octave keys, and lacked many of the features
commonly found on saxophones today, such as an articulated
G#, a forked F#, the one and one Bb, the front F key, and
other improvements that found their way onto later versions
of the saxophone.
The first patent issued to Sax reached the end of its
twenty year life in 1866, and almost immediately, other
companies began producing saxophones and making
improvements. One of the earliest improvements, which
soon found universal acceptance on all saxophones, was the
introduction by the Millereau Company of a forked F#,
which greatly facilitated the production of that note while
retaining the basic playing position for the three main
fingers of the right hand.
While not technically a keywork or mechanism
improvement, in 1868, Gautrot, Pierre, Louis, and
Company introduced a system that kept the surface of the
21
Adolphe Sax patent drawing from French patent #3226 (March 21, 1846).
Adolphe Sax
23
July/August 2014
Rock Saxophone
How To Navigate Rock And Roll Key Signatures
By Andrew Clark
Saxophone Today
basics.
Most intermediate level saxophonists can play in
their key of A Major with just a few forgotten G#s along the
way. To be honest this key signature really is the starting
point for playing rock music on the saxophone. If you play
alto in the key of C concert, but if you play tenor, it is key of
G concert. Both of these key signatures are very common on
the guitar. I have created a simple exercise sheet that will
get you started in this key signature playing the most basic
chord progression in all of music, rock or otherwise, the I/
IV/V chord progression. You cant begin to play in any key
signature until you can get through the I, IV and V chords.
It is as simple as that.
The exercise sheet, included in this column, starts
with basic triads. I virtually preach the following statement
to all of my students, If you cant play the chords you cant
play over the chords! How can you play a ripping rock
saxophone solo over a groove in your key of A if you cant
play an A Major triad? Start with the first top line on the
exercise sheet. Before you even try to play anything else on
the sheet can you play this at 120 beats per minute? That
should be your first goal.
The next step can be up to you. You can stay in this
key and go down to the dominant seventh chords (I7, IV7,
25
V7), and learn the line in the key of A the same way as the
triads line. Or you could stick with triads and work your way
through the five key signatures before doing the dominant
chords. Either way will work. Just make the commitment to
have each pattern memorized and be able to play them all at
120 beats per minute.
The next step is the most important. Once you can
play these exercises at 120 speed you also have to learn how
to play them with the metronome clicking on beats two and
four, instead of all four beats. Set the metronome at 60 beats
per minute and play them all again like that. Youll notice
that they will have more groove when you play them like
this. Its one thing to play the notes correctly, but you also
need to groove!
This is the way to learn how to play over basic grooves in
4/4 time. Sometimes Ill have students put an arrow over
every note that is placed on beats two and four in every
measure so they can visualize which notes will fall on the
clicks.
When it comes to learning a pattern that will be
transposed into different key signatures I usually follow
the cycle of fifths. The order of the key signatures doesnt
follow this path, it is a cycle of fourths instead. It is still a
good way to go because there will be two chords from the
previous key signature that repeat in the next one. When
you move from key of A to key of E you will keep the A and E
chords and add B as the new one. Each step of the way you
learn a new chord and it creates a new sequence of notes.
Youll see that these exercises will cover a wide range of the
saxophone.
In the key of C# you have to hit that low C# as the
first note. Make sure you can blast this note out as you
will need it quite a bit in rock music. The dominant seventh
chord line, at the very bottom of the page, takes you up
to high F#. You have to be able to hit that note if you are
in a rock band. If you dont have a high F# key on your
saxophone there are other fingering combinations that will
work: another subject for another day.
You should be able to play the entire page without
missing a note and playing in sync with the metronome
at 60 beats per minute clicking on beats two and four. Once
you can do that you are ready to start using these chords for
creating horn parts and solos. If you need some help with
this page feel free to email me at SAXATTACK@aol.com.
Next issue well look at how you can get some more
mileage out of this music example. Once you can play these
exercises at 120 speed you also have to learn how to play
them with the metronome clicking on beats two and four,
instead of all four beats. Set the metronome at 60 beats per
minute and play them all again like that. Peace AC
I - IV - V Chord Progressions
Start with the first line on the exercise sheet. Before you even try to play anything else on the sheet can you play this at 120
beats per minute? That should be your first goal.
26
July/August 2014
Saxophone Today
High F sharp
Developing the altissimo register on the saxophone
through overtone exercises.
http://www.youtube.com/watch?v=gm_vOqHPKPY
27
Repertoire Today
For Saxophone
By Andrew J. Allen
The Saxophone Works Of Composer Robert Jager
28
July/August 2014
29
Etheridge.htm
34 Ibid.
35 Interview with George Etheridge.
36 Ronkin, 208.
37 Interview with George Etheridge.
38 Interview with Robert Jager.
39 Ronkin, 208.
40 Nicholas M. Brightman, Butler University. Accessed
December 11th, 2013. http://www.butler.edu/music/biosfaculty-staff/nicholas-m-brig
41 Interview with Robert Jager.
42 Ibid.
43 Robert Jager. Concerto No. 2 for Alto Saxophone.
Musical Score. Lebanon, IN: Studio 224, 1979.
Andrew J. Allen is an assistant professor of music at
Midwestern State University in Wichita Falls, Texas. He
has previously served on the faculties of Claflin University
and Valley City State University, and, as a soloist, he has
appeared throughout the United States and Great Britain.
Dr. Allen holds degrees in music education and saxophone
performance from Tennessee Tech University, Central
Michigan University, and the University of South Carolina,
and his teachers include Phil Barham, John Nichol, Clifford
Leaman, and Joseph Lulloff. His writings have appeared
in The Instrumentalist and School Band and Orchestra
Magazine, as well as Saxophone Today. Dr. Allen is a ConnSelmer Endorsing Artist and performs exclusively on Selmer
Paris saxophones and mouthpieces.
Click Blue Links Below To View Websites &Videos
July/August 2014
By Steven Mauk
On-Stage Etiquette
Saxophone Today
bow together.
If the applause persists after the performers have left
the stage, count four seconds and then quickly return for
a curtain call. You do not need to go back to your original
performance spots, but can merely move on to enough of
the stage that all ensemble members are present. Again,
count two seconds and then bow together. Practice bows and
curtain calls at the dress rehearsals to be sure you look at
ease.
Clothing
What you wear during a concert may not seem to be part
of on-stage etiquette, but it is very important. Clothing can
restrict your ability to walk, move, and breathe properly
during a performance. Practicing in the concert clothes may
be particularly useful for women, who plan to wear a dress.
Men should practice with coats and ties, as well, if these
will be worn during the concert. These performance clothing
choices are often more restricting than the casual clothing
worn during practice and lessons, so you must see if the
outfit will inhibit you in any way. If it does, this can make
you appear stiff and uncomfortable during a performance.
Shoes are particularly problematic. Many times, both men
and women wear dress shoes during a concert. Walking on
to the stage can sometimes be a very noisy event with loud,
hard-soled shoes. Bring a few pairs of shoes to the dress
rehearsal and practice walking on the stage. If you hear
excessive noise, you may want to try a different pair. Also,
women in high heels may have problems both walking and
standing during the performance. Select comfortable shoes,
so you can stay focused on the music, not on your feet.
Body Motion
How much should you move during a performance? A
certain amount of body motion can enhance a performance,
adding visual activity to fit the musical moment. For
instance, a very calm and tranquil section would not need
aggressive, active body motions. Similarly, more overt
movement may enhance an energetic and forceful section.
I think it is wise to do even a bit of choreography when
preparing your performance, so that you know what you
want to do with your body at specific moments in the music.
Another very important aspect is body motion during
rests. What should you do with your body when you are not
playing? Scratching your head, adjusting your reed, wiping
your face, and other motions will draw the attention of the
audience away from the other performer and focus their
attention on you. Unless absolutely necessary, stay still
during these rests and interludes, so the audience focuses on
31
Musical Etiquette
By Phyllis Avidan Louke
http://palouke.home.comcast.net/~palouke/
ArtEtiquette.htm
Rehearsal/Performance Etiquette
http://www2.ivcc.edu/montgomery/Reh_Perf%20
Etiquette.htm
Band Etiquette
By W. A. Foss
http://ccband.wikispaces.com/Band+Etiquette
www.dillonmusic.com
32
July/August 2014
Saxophone Today
Key Guards
keys from opening or closing. If the
baritonetone is leaning against the
players leg, the bell key hinge tubes
are experiencing addition friction when
opening or closing, resulting in sluggish
or an altogether lack of response. A
clothing guard keeps clothing articles
and friction added by the player away.
For players who tend to get a lot of
dents and dings in the bow of their
instrument, for horns with a very
small bow guard, or for those which
have sustained substantial damage in
the bow, a replacement oversized bow
guard with an alligator can be added
to increase stability and prevent future
damages.
SAXOPHONE BRACES
A neck without a brace is more susceptible to being bent
down. A neck brace can be added as part of the repair, or
added as a preventative
Braces
measure.
X Braces have a mythos
behind them that few people
other than those who have
played a horn with one (or
two) can really describe.
Without a doubt, it adds more
stability. Adding an X-brace
to a baritone or bass that
does not already have one,
or adding a 2nd brace closer
to the bow of the instrument
seems to open up the
resonance of the bottom end
and increase the response of
low notes.
MECHANICAL
MODIFICATIONS
The mechanical
modifications are largely
for eliminating lost motion,
quieting noisy and clunky
mechanisms, or adding
modern features to vintage
saxophones.
Adjustment screws can be
a terrific time saver for the
player and technician because
they make it possible to
make small adjustments to the timing of the top and bottom
stack keys with the turn of a screw driver. The screws are
installed through the C back bar on the top stack and the F#
back bar on the bottom stack. Other places that adjustment
screws can be added are for key-to-key timing on vintage
soprano top stacks that do not have a long back bar, the
Low B to C# arm, and on some instruments, its possible to
replace the F# adjustment arm with an arm that contains
individual adjustment screws for the F# to G# and F# to Bis
34
Adjustment Screws
Bb timing.
HIGH FRONT F KEY
MECHANISM
For vintage instruments
that do not have a Front F, or
for modern style instruments
with a Front F that is difficult
to reach or press, a new front
F mechanism can be installed
or an existing one can be
modified. Its style and size
vary depending on how the
top stack keys are set up and
how far away the arm of the
Palm F key is located. The
functionality of the Front F
key can be improved based
on whether the player prefers
to roll up to the Front F or to
lift their finger and press the
Front F.
CONVERTING A HINGE
TUBE TO PIVOT SCREWS
On some vintage horns,
there are very long keys
that are mounted on very
High Front F Key
long hinge rods. In perfect
adjustment, it works fine. But
as soon as the key is dinged
or slightly bent, the key will
experience resistance or
cease to function at all. With
tapered pivot screws in place,
the key will still function,
even if it becomes slightly
bent.
CONVERTING SPRING
HOLES TO A SPRING
CRADLE
Spring holes are a
Hinge To Pivot
particularly undesirable
thing of the past: on some
keys, springs were designed
to go through a hole in the
key, rather than rest in a
spring cradle. To adjust the
tension of the spring, the key
(and accompanying stack of
keys in some cases), must
first be removed from the
instrument. By converting
the spring hole to a cradle,
the spring can be precisely adjusted.
REMOVING THE OCTAVE SQUARE ON CONN
AND BUESCHER SAXOPHONES
Common on Conn and Buescher saxophones, the small
brass octave square is attached to the body octave key with
a steel rod. A forked arm then goes around this square, and
July/August 2014
Octave Square
each end that fit through circular holes in other parts of
the octave mechanism. Not only is it difficult to adjust the
contact point, but they can break, and they also dont allow
for silencing material to be installed. The Teflon Mini-ball
Mechanism replaces the brass ends of the octave rocker with
a teflon ball, which is installed with a screw. The teflon ball
expands by turning the screw, ensuring a precise fit with no
lost motion and no introduction of friction.
SLOPPY ROLLERS
Teflon Tips On Rollers
Many rattles and buzzes
originate in sloppy rollers.
Rollers can be fitted with
Teflon tips to remove play, or
new rollers can be machined
for a perfect fit.
Often, when a player
sends an instrument and
chooses to have various
modifications done they can
become overwhelmed with
the amount of work and the
changes that we might make
to the instrument. They
consider all the synthetic
materials like modern pads
and modifications, and
they can think the instrument will come back very odd or
different. However, a good modification and good work in
general is nearly invisible. The modifications can be made
in a way that is tasteful, and that aesthetically matches the
style of the horn. The player picks up the instrument and is
often surprised that they dont see the work. The end result
of any good work should only be an improvement. In the next
installment, we will be reviewing comfort and ergonomics,
tone and intonation and beautification.
Next installment, we will be reviewing comfort
and ergonomics, tone and intonation and
beautification.
Durability
Key Contacts & Guides
Side Key Contacts (side Bb, C, high E)
G Key Contact
- Low C/Eb Contact Buescher Side Bb Guide
Keilwerth High F# Guide Insert
- Guards and Braces Key Guards and Clothing Guard
Bow Guard
Neck Brace
X-Brace
Mechanical
Adjustment Screws
Front F Mechanism
Convert Hinge Tube to Pivot Screws
Convert Spring Hole to Cradle
Remove Octave Square
Convert Side Key Ball Joints to Forks
35
Beyond Boundaries
Brainwave
Entrainment
And The Creative Mind
By David Pope
Brainwave Entrainment: And The Creative Mind
36
July/August 2014
Biofeedback Therapist in NJ
Biofeedback Therapy Monmouth County
http://www.youtube.com/watch?v=b7RNxc-dhPw
By David Camwell
July/August 2014
w w w. d e j a c q u e s . c o m
Saxophone Today
39
July/August 2014
By Eugene Rousseau
Saxophone Today
41
Competition Rules
http://www.kdz.hr/index.php/en/competition-rules
Program
http://www.kdz.hr/index.php/en/program-1sax-en
Application Form
http://www.kdz.hr/index.php/en/application-form-sax
Schedule
http://www.kdz.hr/index.php/en/raspored
Competitors
http://www.kdz.hr/index.php/en/competitors
2014 Eugene Rousseau, Used by permission in Saxophone Today
http://www.eugene-rousseau.com
July/August 2014
From my own experiences I can tell you that fighting bad time for an entire rehearsal or
performance is draining. There could be a collection of highly qualified players in attendance but
everyone needs to agree on the time. There is the rub.
Saxophone Today
43
Understanding Time
Having good time is something often associated with the
job of a drummer. The bass player also plays a key role in
laying down the time within the rhythm section. One would
be remiss if the piano and guitar players contribution were
overlooked as well. Although the rhythm section is entrusted
with the role of propelling the big band, they cannot do it
alone.
Some people have perfect pitch.
Others must work more diligently on
developing good relative pitch. The
same is true of time and rhythm. Some
have great innate time keeping skills
while other must work more diligently
to achieve the same skills. As the
paragraphs above stress, I was among
the latter.
There are essentially two steps to
having good time as a saxophonist.
The first is to be able to play your
saxophone in time with or without
the use of a metronome. Secondly,
one must be flexible in their ability to
adjust the feel for their performance
environment. The remainder of this
article will look at these two separate
factors and break down the component
parts of each separate skill.
I. Producing, Practicing and
Maintaining Good Time
As a teacher, I require all my private
students to purchase a metronome or
appropriate smart phone app as soon
as possible. Playing in sync with a
metronome is a skill which should be
encouraged from the very beginning of
saxophone study. Whether a beginner
WWW.ROVNERPRODUCTS.COM
Practice Exercise #3
44
July/August 2014
Practice Exercise #4
Practice Exercise #5
Saxophone Today
45
Saxophone Today
47
Nancy Newman
Nancy Newman Interview By Thomas Erdman
48
July/August 2014
Saxophone Today
49
July/August 2014
advice you have for bari big band players, when they find
their parts to be with the trombones, in order for them to
blend and punctuate their lines with the trombones as
perfectly as possible?
One of the things for me is hearing whether Im with the
bass trombone or the upper trombones. If Im with the bass
trombone then its full out with whatever he/shes doing. I
find, if Im playing with the upper trombones as a section,
that I need to fit my sound inside their blended ensemble
tone. So in playing with the trombones there are those two
different ways I might have to approach playing.
The baritone and bass saxophone have a lot of heavy keys.
How do you practice in order to be able to play with and
still stay in perfect metric rhythmic alignment with the rest
of the saxophone section in a big band?
I just practice or play my horns every day. I practice
chromatics and in particular, focus on feeling the horn,
developing the muscle memory for each instrument. You
have to be completely comfortable with your instrument.
You have to learn to control your horn, and I did a lot of
that when I was young with Gerry Danovitch. He taught
me how to keep that kind of thing tight and how to be on
top of it. He was a killer about sight-reading, blending, and
being very precise, both as a student and in his quartet.
I continue to still do the kind of things now as I did then.
Most importantly, this includes using the metronome
and starting super slow, working things up gradually. I
make sure everything is exact from the slowest beat to the
fastest.
When playing the bari and bass saxophones in a big
band, like you do on the Clare Fischer Big Band album
Continuum, many times you have to play really low notes.
What advice do you give your students for handling really
low notes on such big instruments in order to make the notes
sound centered and not tubby?
When I was fairly young that was a big issue right away.
I took a private lesson with Ted Griffith of the Montreal
Symphony, he was the bass trombone player. It was a
lesson on how to focus and use your air, and how to develop
that ability to the max. One of the exercises he gave me
was to play one of the lowest notes I had and hold it until
I was literally turning purple and the veins were popping
out of my head, and then I was not allowed to breathe in
for 5 more seconds. You really notice the muscles that you
need for deep breathing, doing that exercise. That was one
of the earliest types of breathing lessons I did. I practiced
that a lot. It also helps if you develop natural body strength
in order to work the horn. You have to be in shape, focused,
and healthy. Those qualities will give you a leg up, in
addition to doing exercises like the one I just described.
The flip side of that question is that there are times when
the bari sax is asked to play lightly and delicately. This
you do with spectacular results on The Nutcracker Suite
Highlights with the Danovitch Quartet on the Musica Viva
recording, most especially when you have the melody on
the Dance Of The Reed Flutes movement. Do you have any
favorite exercises you like to do in order to play such a big
instrument in so light and delicate a manner?
51
because I was already really busy doing a lot of performing. There was one
time when I walked into one of my first recording sessions in L.A. I heard
from across the room, Crap, its a girl. What I did was say hello, sit down,
and set up, until we had to play. Then I did my thing. At the end everyone
was all friendly and chatty. The thing to do is to go and play when you can,
demonstrate what you do, dont talk, dont argue, etc., and dont talk about
the role of women, because no one wants to hear about that. You just need
to play your best. Everyone deals with discrimination. Its not just being a
woman, it can be age, sex, race, culture, you name it. I do whats available
and if I dont get something I move on and find something else.
What advice do you give your women saxophone students in order to help them
deal with issues like that?
Women are famous for being chatty, so I tell my female students, Close
your mouth, open your ears, and just play and be focused. When you find out
what the group is like, then you can let go a little, maybe. There is a slight
difference in perception between chatty males or females. Unfortunately I
see some girls coming in to the business dressed to kill, but then they dont
play that well. They do get a lot of attention from all of the men around, but
I dont see them coming back very much. Its more important to be a serious
musician and be serious about how you play rather than focus on how youre
presenting yourself in the latest outfit.
In your promotional materials you state, ensemble playing is and has always
been my favorite work. There are a lot of young musicians who want to be
stars, but unless they first prove themselves as capable and highly skilled
ensemble players theyre never going to get the opportunity to really ascend
to the level of a soloist. What advice do you have for saxophonists in order to
develop good ensemble playing abilities?
I think the best thing is to have a long term group and develop them in that
manner. That was my experience so perhaps Im biased in that direction. I
was lucky to have the Danovitch Quartet. The four of us would constantly
challenge each other, and insisted on our 6 hours of group rehearsal a week,
whether we had performances or not. This gave us the freedom of time, to
dig deep into the details. There was an intensity of playing and performing
together, intuitively creating something bigger than the four of us as
individuals. That will really affect your level of musicianship. The collective
whole helps to educate you as youre doing it, and it takes time and effort.
You use the Reed Geek. How do you use it?
First, I like to resurface the back of my reed in order to make sure its
completely flat. In the front of the reed I can shave the sides down and
carefully shave right down past the end of the tip. Basically it does what a
reed knife does but I like the feel of it, compared to my knife. It is about 2
inches long, the width of a normal pencil, with 4 knife edges, and the end has
some tiny corners that can shape the smallest area.
You also use the RR 200 Glass Reed Resurfacer. How do you use it?
Its like a piece of sandpaper that has a very very fine sandpaper quality
to it. You can polish your reed on the back with it or shave it down lightly.
I use it a lot to hold my reed for resurfacing. When you have a bassoon reed
you place a plaque inside before you work on the tip. The RR 200 Glass Reed
Resurfacer device is handy with its little glass tray, which is about three
inches by two inches. It is the perfect size to handle baritone reeds as I work
on them, as well as polish the bottom.
Youve played around the world in various climates. Do you have any kind of
a special process you go through in order to make sure you always have reeds
that are available and ready to play no matter the humidity or temperature?
I dont do anything special. I just practice and see what it feels like. My
thought process is, Okay, this is how its feeling today, I will have to just
Saxophone Today
rs
blishe
u
P
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r
o
F
To the
Music for the classical saxophone
. 3 3 >
_ _
J
& b 44
Best sellers
53
work with what Ive got. The hardest reeds to work with are
the double reeds, the bassoon. Compared to working with
bassoon reeds, all of the other instrument reeds I play on
are a piece of cake and I dont worry about them too much.
Maybe its because Im mostly playing baritone. The smaller
horns are fussier than the big horns with regard to this
issue, but baritone reeds will kind of work no matter what
you do, at least thats how I feel.
Your performance abilities are astounding on clarinet,
and I love your recording of the Voyage Pentatonal. Some
saxophonists have told me when they want to practice their
saxophone technique they go to the clarinet and practice on
that instrument because the technique on clarinet has to be
more precise than on the saxophone. Do you do this as well?
I dont do that but I know the reason everyone suggests
saxophonists start on clarinet is because you cant get
away with mistakes on the clarinet, such as having a bad
embouchure, having your fingers not be lined up correctly,
etc. Those kinds of problems really show up on clarinet.
I do my work on saxophone and when I play on clarinet I
try to be as precise on that instrument as I can be. I did it
backwards, but I do understand how clarinet is the way to
start because you cant hide your mistakes.
Truthfully, I hid everything by starting on baritone. I did
not do anything right. I didnt even learn how to correctly
tongue the baritone saxophone until seven years after
college. At that point I finally understood what people had
been trying to tell me. I did not play clarinet early, and that
might have helped me learn to tongue, but if I had gone
that route I also dont think I would have ended up with the
sound I have on baritone. By starting and doing everything
wrong I just developed what I could do to make it work.
Later on I found out what was right and that helped me
be a better teacher in order to help others figure out what
theyre doing wrong. In the end, what I use for practicing is
whatever instrument is in my hand at the time.
You have played on a lot of studio sessions on a lot recordings
in a wide variety of countless genres. In fact, you are the
consummate studio musician. For someone who is getting
their first opportunity to do a studio gig, what advice do you
have for them?
Have great reeds and a good warm-up. When recording
with various chamber groups over the years, it was all about
the rehearsal preparation, and then being able to let go and
perform in the moment. We had to do every movement in one
take, no splicing in the early days; or else it was live to tape,
no splicing for that either. In L.A., sometimes you might not
even know what genre you will be playing. You pick the reed
and mouthpiece combinations that will give you the best
sound for what youre doing in your own work.
Once youre in the room, you do the style with the way
you create your sound with your body. As we know, there
are a lot of people who say so-and-so was a great imitator
of Charlie Parker, or some other player. You can learn to
develop a sound like a different person and create it. Then
when you learn to create your own sound that will come
through no matter what equipment youre using. So when
you have a recording session you need to pick your best stuff
and be free to play.
54
http://en.wikipedia.org/wiki/Gerald_Danovitch_Saxophone_
Quartet
55
By David Babich
Aggregator, Part II
TuneCore
56
TuneCore Price
TuneCore UPC/ISRC
fee
Free
CD production at
TuneCore
July/August 2014
TuneCore system.
Its a good thing if you name your artwork file (CD cover)
perhaps the same as the title of your CD. Next come the
digital music files on your computer, and double-clicking on
them individually will make them upload to your TuneCore
account. For TuneCores in depth style and uploading guide
(a printable PDF file), click here.
After you meet all the requirements with TuneCore
(digital music files and artwork uploaded as well) TuneCore
will send your music out to the various digital music
retailers and your music will be available at those sites
within a few days. TuneCore also provides trending reports
from iTunes which detail your music sales activity.
If you decide to cancel your account they issue take
down notices to the various music retailers and your music
will be removed within 30 days. Even though you can set
your own digital selling price, lets assume a single track
from an album sells for $.99 on iTunes. With TuneCore,
youd have to sell about 44 tracks on iTunes to make your
money back in the first year and then 73 tracks/year
afterwards to break even with TuneCores album pricing (44
x $.69 = $30.36 and 73 x $.69 = $50.37).
TuneCore also has a disc (CD) manufacturing
service with 7+ production options and categories. They
will replicate CDs and DVDs, print insert pages, and make
multiple types of CD/DVD packaging including jewel cases,
DVD cases, jackets and wallet cases. For instance, 300 CDs
with color printing; in a jewel case with white tray; a 4 panel
folder (album cover, notes, etc.); shrink wrapped; and UPC
barcode will cost $875.30 including shipping. This comes
out to $2.91 per CD. TuneCore then sends the 300 CDs with
packaging to the artist to distribute.
One final and perhaps the most important thing:
before planning a new CD recording session, be sure to
clear legal obstacles prior to recording, such as obtaining
able
Avail
Basics Of Copyright
http://www.tunecore.com/guides/basics_of_copyright
Now!
Saxophone Today
57
Shunkffle O Blues
For Skip Spratts Live Spoken Introduction Guide Click Link Below:
http://www.saxophonetoday.com/v/vspfiles/mp3files/ShunkffleOBluesIntro.mp3
GUIDELINES FOR DOWNLOADING SKIPS PLAY-ALONG SOUND FILES
These .mp3 Sound Files Are Playable With Apple Quicktime Or Windows Media Player
Windows Or Mac Desktop Or Laptop Computer
We recommed using the zip mp3 sound file (download to hard drive) version to easily download and save to
your desktop or laptop computer. Youll have three choices (Open, Save, Save As). For Mac OS X 10 and above
or Windows Vista, 7, 8 & Windows 8 Tablets its simple. Click Save and the mp3 will be sent to your download
folder to open. Click Save As to direct the file to any folder on your hard drive.
For the iPad 4, Android Tablet, iPhone, or Android phone
requireing a Live Feed, simply click the live un-zipped mp3 file to download and play.
Note: Live Feed also works for Windows or Mac desktop & laptop computers.
Alto Saxophone Play-Along For iPad (Mac & Windows too) Live Feed
http://www.saxophonetoday.com/v/vspfiles/mp3files/ShunkffleOBluesAlto192.mp3
Tenor Saxophone Play-Along For iPad (Mac & Windows too) Live Feed
http://www.saxophonetoday.com/v/vspfiles/mp3files/ShunkffleOBluesTenor192.mp3
Alto Saxophone Play-Along Zipped File (download to hard drive)
http://www.saxophonetoday.com/v/vspfiles/mp3files/ShunkffleOBluesAlto192.zip
Tenor Saxophone Play-Along Zipped File (download to hard drive)
http://www.saxophonetoday.com/v/vspfiles/mp3files/ShunkffleOBluesTenor192.zip
58
July/August 2014
Skip Spratt
Shunkffle O Blues 2014 by Spankys Publishing, All Rights Reserved, Used By Permission
Saxophone Today
59
60
July/August 2014
Saxophone
To d a y
CD Reviews
Frank By
Bongiorno
Reviews
CD Reviews
Frank Bongiorno
& Billy Kerr
Saxophone Today
61
among the voices. The two pieces by Escaich are the newer
works on the CD. Le Bal is the most recent of the two (the
other piece being Tango Virtuoso), and was performed by
the Quatuor Jean-Yves Fourmeau in 2003 for the World
Saxophone Congress held in Minneapolis, Minnesota. The
piece often moves from veiled, subdued sections to sections
stout with sound and dynamics, while at times extending the
range and technical demands of the instrument. Ellipsos is
up to the challenge and offers a convincing rendition of the
piece, in all aspects.
Although written approximately the same time as Pierns
piece, Franaixs Petit Quatour was written early in his
career when he was an up-and-coming young composer.
The three movements range in mood from humoresque to
solemn, and back to humorous. The ensembles restraint and
overall control allows the piece to project just the right mood,
without sounding strained or forced.
The pieces on the CD and the performances are certainly
first-class in every way possible. Great music performed
by excellent musicians transcends typical parameters and
becomes monumental, and this recording succeeds in doing
just that.
Billy Kerr Review
REEDS RAMBLE
Criss Cross Jazz 1364
Seamus Blake/Criss Cheek
Seamus Blake (tenor saxophone), Criss Cheek (tenor and
soprano saxophones), Ethan Iverson (piano),
Matt Penman (bass), Jochen Rueckert (drums)
Seamus Blakes Website
www.seamusblake.com
Criss Cheeks Website
www.crisscheek.net
Criss Cross Jazz Website
www.crisscrossjazz.com
Reeds Ramble Is Available From
Amazon, iTunes, & allmusic.com
eamus Blake and Criss Cheek first met as students
at the Berklee College of Music in Boston over twenty
years ago, and in the intervening years, both have
been staunch keepers of the jazz tenor saxophone flame.
Besides their experiences together in school ensembles
including Herb Pomeroys big band, the two saxophonists
were band mates in The Bloomdadies, a groove oriented
group with electric bass and two drummers. Blake and
Cheek meet as co-leaders for the first time since then with
this recording, paying homage to Bloomdadies as well as
other two tenor bands, like Al & Zoot, Lockjaw & Johnny
Saxophone Today
63
July/August 2014
Arrangements Of
Nighthawk Tunes
Available Exclusively
From Saxophone Today
EACH ARRANGEMENT
All sheet music parts come in one PDF file, which includesa full
score, saxophone parts, bass part, drum part, and an optional piano
part.The accompanying play-along sound file is anmp3 music file
(256 bitrate for a high quality sound)!
Whether you use just the sheet music for your band, the playalong for personal enjoyment or teaching a student, or even use
the play-along on a gig with just you playing saxophone backed by
Nighthawk, it all works. Enjoy!
Saxophone Today
65
Saxophone
Saxophone Products And News
DANSR Launches
New Website
66
July/August 2014
2014
Saxophone Today
VandoJam At NAMM
Videos Are Now Online
January 2014, Anaheim, CA This past January at The
NAMM Show in Anaheim, CA, the VandoJam at NAMM
was streamed online through banddirector.com. The service
meant that people who werent at The NAMM Show didnt
have to miss out on an evening of fantastic jazz.
Those videos have been uploaded onto banddirector.com
and are available to stream online. If you missed the live
stream of the VandoJam at NAMM or were at the Jam and
wish to hear it again, you can now watch all three hours
at your leisure. See the three featured performers, Jerry
Vivino, Ralph Bowen and Eric Marienthal, with special
appearances by a host of other artists, including Billy Kerr,
Kim Richmond, Michael Lington, Jay Mason, DANSRs own
Michael Skinner, and many more.
The video stream of the VandoJam is our way of reaching
out to Vandoren fans and jazz enthusiasts who couldnt be
at the show with us and including them in the memorable
night of music making that occurred there, offered
Vandoren Brand Manager Andy Blanco. In the interest of
fostering the Vandoren community, we hope to offer this
service again at future NAMM VandoJams.
To view the videos of the NAMM VandoJam, visit http://
www.banddirector.com/article/pg-jazz-band/vandojam2014?productguide=523. For more information on upcoming
VandoJams and other Vandoren events, contact DANSR,
Inc. at information@dansr.com or 888-707-4455.
Contact for further information:
Andy Blanco
312-475-0464, ext. 202
andyb@dansr.com
www.DANSR.com
Sax Man
Dan Morettis
Recording Career
Turns 25
April 2014, Chicago, IL Vandoren Artist Dan Moretti
is celebrating 25 years of recorded music. Since his 1988
release Point of Entry, the award-winning saxophonist/
composer/arranger has explored numerous musical genres,
including pop jazz, Latin, funk, and others. He has also
written for and performed with a wide variety of artists
including Robert Plant, George Duke, and many more. Dan
is a full time Professor at Berklee College of Music in Boston
and has been on the faculty since 1996
He celebrated this milestone with a performance at
Chans in Woonsocket, RI on April 12. Patrons were not
only treated to an evening of some of the best live jazz
the Eastern Seaboard has to offer, but also received a
compilation CD containing some of Dans career highlights.
On his association with Vandoren, Dan offers, I have been
67
Eddie Daniels
Dan Moretti
For more information on Dan Moretti, visit
http://www.sonicbids.com/band/danmoretti/. For more
information on the Vandoren Artist Program in the U.S.,
visit dansr.com/vandoren/artists or contact
information@dansr.com or 312-475-0464.
Contact for further information:
Andy Blanco
312-475-0464, ext. 202
andyb@dansr.com
www.DANSR.com
New SDT
Tenor Saxophone
From Sax Dakota
http://www.saxdakota.com/
PETER LAPLACA
fax: 1-847-382-4626
Toll Free: 1-877-541-4017
Cell: 1-847-302-6616
e mail: pjlabiz2@aol.com
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addition
to their
already
excellent line of professional
saxophones; it is unlike any
of their previous models.
The standard for Sax Dakota
has been plated brass horns.
However, this new model is
comprised of a completely
unlacquered bronze brass alloy.
The hand engraving and the
unlacquered bronze brass of the
SDT-XR-92 give it an attractive
vintage look. It is a really
cool looking horn. I received
the SDT-XR-92 on trial from
Pete in order to spend some
time playing it, and to give my
thoughts on the horn. After
playing it, I can say that this
new model is an excellent
instrument. I spent time on
longtones, overtones, scales,
technique exercises, tunes,
improvisation, transcribed
solos, everything I could think
of in order to put the horn
through the paces so to speak.
I really wanted to see what it
could do.
Sound, Response &
Intonation
First of all, I found it to
be very free blowing (a trait
I prefer) which made it very
comfortable to play. The intonation
is very good throughout the range of
the horn from low B - flat through the
altissimo register and the tone was consistant as well. One
of the best chararacteristics I have noticed with Sax Dakota
horns is that the sound is very focused and centered and this
horn was no exception. Another great aspect of this horn
is the response. As I played it, I found that it did exactly
what I wanted when I wanted it to happen. I did not have to
make drastic adjustments or fight with the horn in order
to get everything to sound clearly. In addition, I was able
to play very soft subtones all the way down to low B - flat.
Everything spoke very well.
Keywork & Ergonomics
As is the case with everything Sax Dakota makes, the
keywork and action are excellent. For starters, the key
work is very ergonomic. This provides for comfortable
hand placment and efficency of motion which makes it
easier for the player reduce tension. Furthermore, the
action is amazing. There is no play or wasted motion in the
mechanism.
July/August 2014
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Saxophone Today
Conclusion
I can say without a doubt that Sax Dakotas new SDTXR-92 model tenor saxophone is an excellent horn. It has
every characteristic the professional player is looking for:
the tone is great, the response in impeccable, the action
is excellent, and overall it is very comfortable to play.
In addition to all of that, the hand engraving and raw
bronze brass give it a unique look. This is a high quality
professional horn that can easily hold its own with any horn
on the market.
This horn is an exemplary example of the very high level
of quality and craftsmanship Pete and his staff at Sax
Dakota put into all of their horns which are why I not only
recommend them without hesitation but I also play and
endorse them.
Christopher D. Mickel, D.M.A.
Sax Dakota performing artist
Teacher and Senior Forum Moderator as:
www.mysaxtalk.com
www.chrismickel.com
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I Got Rhythm
Body And Soul
My Funny Valentine
Nothings Gonna Change My Love For You
June Jessamine
Final Round
(1) The contestants in the final round should only use one
of the saxophones provided by the organizer to perform and
select a saxophone based on the order of marks in the semifinal round. However, contestants should use their own
mouthpiece.
(2) Please select one musical piece for each of the three
styles listed below.
The contestants will play a total of three pieces on the site.
The three musical pieces may have different lengths of time,
but a contestants playing time should not exceed 20 minutes
in total.
a. Swing style (allegretto or faster)
b. Adagio (ballade)
c. Another style (eg. Bossa Nova, Funk, etc.)
Saxophone Teaching
And Learning Methods
With Miles Osland
5 Great Videos + Free 11-Page
PDF Guide Book!
Competition Order
a. The playing order of contestants in the semi-final round
will be decided based on the order of the arrival of the
application form, and will be announced on the activity
official website.
b. The playing order in the final round will be decided by the
contestants drawing lots. If a contestant is not present, the
organizer will draw lots for him or her. The absentee should
not protest against this.
Grading Criteria
Performance Skill 35%; Improvised Interpretation 30%;
General Musicality 25%; On-stage Etiquette 10%
Prizes & Rewards
First place: medal and US $30,000
Second place: medal and US $5,000
Third place: medal and US $3,000
The first three winners will be presented with a medal
with Taichung City mayors name on it and the saxophone
they chose to use in the final round. (No matter how many
saxophones each winner uses in the final round, only one
will be given as a reward).
Consulting Hotline: +886-4-2313-4000*20 (Mr. Chen
(9:00~18:00, Monday through Friday)
email: jeffery@ze.com.tw
For a complete 11 page PDF of this event, directly
from China, covering all the details of this
competition, including the application form, please
click this blue link:
http://www.saxophonetoday.Com/v/vspfiles/
PDFfiles/Taichung2014JazzSaxophoneCompetition.
pdf
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