Reply to thread

Message

<blockquote data-quote="Mike T" data-source="post: 521351" data-attributes="member: 5470">I currently have a 1932 Transitional tenor (a real &quot;Chu&quot;), a 1937 10M and a 1967 Selmer Mk.VI.&nbsp; The Conns are big and dark (the Tranny being the darker of the two), while the&nbsp; Mk VI is much gentler - with a tone more like a Yamaha YTS 21. I was never a fan of Turrentine&#039;s; for a big tenor tone I&#039;d rather listen to Gene Ammons or Ike Quebec.&nbsp; As for Illinois and Arnett being &quot;completely in the same ball park,&quot; that misapprehension derives from their shared history, following each other in the same band.&nbsp; Illinois was a control freak - he never played anything by chance - nothing wild about him - everything was planned out and executed flawlessly with his amazing technique and his middle-of-the-road tone.&nbsp; Arnett on the other hand, although he too had an amazing technique, played from the heart rather than from the head.&nbsp; His playing was very melodramatic at times, and he took his chances, which occasionally didn&#039;t pay off. The odd bum note is the price you pay for playing with your heart rather than with your head - but, oh ! what excitement he could generate when he let rip with that huge tone !</blockquote>

[QUOTE="Mike T, post: 521351, member: 5470"] I currently have a 1932 Transitional tenor (a [I]real[/I] "Chu"), a 1937 10M and a 1967 Selmer Mk.VI. The Conns are big and dark (the Tranny being the darker of the two), while the Mk VI is much gentler - with a tone more like a Yamaha YTS 21. I was never a fan of Turrentine's; for a big tenor tone I'd rather listen to Gene Ammons or Ike Quebec. As for Illinois and Arnett being "completely in the same ball park," that misapprehension derives from their shared history, following each other in the same band. Illinois was a control freak - he never played anything by chance - nothing wild about him - everything was planned out and executed flawlessly with his amazing technique and his middle-of-the-road tone. Arnett on the other hand, although he too had an amazing technique, played from the heart rather than from the head. His playing was very melodramatic at times, and he took his chances, which occasionally didn't pay off. The odd bum note is the price you pay for playing with your heart rather than with your head - but, oh ! what excitement he could generate when he let rip with that huge tone ! [/QUOTE]

Verification