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Tremendous fun. He must decimate a reed every gig
Fantastic playing, really quite moving, just a shame that nobody could hear live.Funky lig
Funky lig
Yes, funky - Vandoren - ligature indeed and mounted really far out on the mouthpiece. It appears something them classical players do, probably for consistency of tone but what do I know.Fantastic playing, really quite moving, just a shame that nobody could hear live.
Problably a Vandoren string lig.
Again
I bumped into Dana Colley one day while he was busy painting the hallway outside my then condo one day. Sure seemed like a nice and low key individual. This was after Mark Sandman's death. Life as a professional musician is hard save for a very few.I'm rather find of
Agree 100%... but I love how the bari sax is used. I wish others would too, but it probably a hard act to follow.
Very exciting
Hi Squeak,I know. Addition off the low A dealt a blow (sorry) to the baritone sax as solo instrument, but this is not to say that it doesn't work great in a moderns setting. I love Mulligan in particular and also recently discovered Bob Gordon. For this thread, I thought it was nice with living baritone saxophonists. Here is another example of Frederik Lundin in a quartet. He is a fantastic saxophonist and composer, but mainly plays tenor. However, I think he sounds even better on baritone.
View: https://www.youtube.com/watch?v=qhMJv8Byimk
Hi Squeak,
I've just started learning about the Bari and looking to get one as soon as funds allow. I was interest in you assertion that "Addition off the low A dealt a blow (sorry) to the baritone sax as solo instrument ...", and wondered why you think that; I'm not disagreeing, just interested in your thoughts.
Dave
I am an amateur and it is just my personal opinion. However, there does appear to be this notion that the low A is a must to play jazz in big bands, funk and rock. In effect, this is mostly how the bari sax is used and often combined with a high baffle buzzy sound that I don't care too much for. Also, I have tried maybe 7-8 different makes of baritone saxes and preferred the sound in the low end of the Bb horns. The Smulyan/Di Blasio clip above is actually not a bad example. It could be bias or coincidence, but this, along with listening, is what my perspective is based upon. This not to say that plenty of players don't sound wonderful on low A horns. It may well be that a low A horn will work best for you and surely open more doors for playing in bands.Hi Squeak,
I've just started learning about the Bari and looking to get one as soon as funds allow. I was interest in you assertion that "Addition off the low A dealt a blow (sorry) to the baritone sax as solo instrument ...", and wondered why you think that; I'm not disagreeing, just interested in your thoughts.
Dave
Thanks for your input Rhys.I am disagreeing.
There are still lots of baritone soloists, some play low Bb and others play low A horns. There weren't many bari soloists back in the 30s and 40s before low A horns came in.
Rhys
Thanks for the reply Squeak; as far as I' concerned your opinion is as valued as anyone else's, so your comments are very welcome.I am an amateur and it is just my personal opinion. However, there does appear to be this notion that the low A is a must to play jazz in big bands, funk and rock. In effect, this is mostly how the bari sax is used and often combined with a high baffle buzzy sound that I don't care too much for. Also, I have tried maybe 7-8 different makes of baritone saxes and preferred the sound in the low end of the Bb horns. The Smulyan/Di Blasio clip above is actually not a bad example. It could be bias or coincidence, but this, along with listening, is what my perspective is based upon. This not to say that plenty of players don't sound wonderful on low A horns. It may well be that a low A horn will work best for you and surely open more doors for playing in bands.