I heard a saxophone professor say that a fast, constant vibrato which was used in French classical playing has now come "full circle" and can be heard in the sound of some "New Age" or "Smooth Jazz" players. It is just not as wide or pronounced.
Yeah I agree. It's deceptive for some reason - well it was for me when I was young. Coming from British Revivalist Trad clarinet, I thought that Sanborn and others like him used less vibrato - not so of course. As I've said before, I've yet to hear any pro sax player play completely without vibrato. I've never said that it needs to be on 100%, or whatever, merely that everyone in any style uses it as a tool somewhere. Each player will use it differently depending upon the style of music, type of song, people that their playing alongside, speed of song, feel of song... it's organic and the choice is a musical one to make.I heard a saxophone professor say that a fast, constant vibrato which was used in French classical playing has now come "full circle" and can be heard in the sound of some "New Age" or "Smooth Jazz" players. It is just not as wide or pronounced.
It all has its place though, and if you find yourself on a gig and a tune like this comes up, that's the sound. This begs another question - when does the music demand that you play differently to your preferred playing style?If we are going to get into "true confessions" to clear the soul. I used to practice vibrato playing along with these guys who were quite popular when I was growing up.
WOW! What a band. The drummer is incredible, his placement of the snare is fantastic. Proper American blues feel - closer to dotted 8th/16th groups than 6/8 swing 8ths. Lovely sax playing. Right up @Pete Thomas street. I can't play blues this authentically, I'm too jazz.
To freely quote Chet Baker...If I could play like Arno, I wouldn't play like ArnoBut, personally I'd rather hear all the other members of the woodwind family playing classical repertoire.
That's an interesting one. I think I like it - trouble is, so much is intuitive at this point I won't know what I do until I'm doing it. Interesting rule. Logical.My simple rule for big band playing tradional repertoire: if a passge is voiced in harmony use vibrato. If it is uniosn or octaves, no vibrato.
Maybe that explains why some of our big band charts have "Unis." and "Divis." (or similar) marked on some of the sax lines - providing clues about vibrato or not. Or does the unison/harmony also affect the dynamic we should be using ?My simple rule for big band playing traditional repertoire: if a passage is voiced in harmony use vibrato. If it is unison or octaves, no vibrato.
Vibrato warms up harmony and blurs the edges of any inotnation issues (not there should be of course!) but with unisons it can sound very ragged. But can work when you want that sort of effect.