I mean, it had so many setscrews and all this stuff in it—it wasn’t repair technician-friendly.
JazzTimes: They might just figure it’s you being expressive, James.
Carter’s passion for the roots of his music and the tools of his trade run deep, and he speaks with infectious enthusiasm and encyclopedic knowledge both about his tribal elders and the history of his instruments. It brought the reverence of the Mark VI to the palette of late ’70s and early ’80s, up to the present.”, Of course, what makes each and every saxophonist unique is the nature of his or her basic reed mouthpiece setup.
No curve in the bow like a regular saxophone—it goes straight down.
Just the same as Duke did with mutes.”.
All rights reserved. —John Milton, Paradise Lost, Once in a phone conversation with Sonny Rollins, James Carter’s name came up and suddenly Brother Theodore’s voice turned real sunny. All rights reserved. I played them with Lester [Bowie], and when I really got into it the reed started giving way, and they didn’t even last me a song. You see, after the war you didn’t have this refined piece of metal that you used to have, that made a saxophone sound individualistic. It … Read More “Samuel Blaser Calls in From Funkhaus Nalepastraße”, In 2016, the Colorado-based tenor saxophonist Dominic Lalli stood onstage at Lollapalooza, playing thick, funky lines with his electronic-music act Big Gigantic. It was designed with Fred Hemke in mind. By continuing to browse our site you agree to our use of data and cookies. They also switched their stacks around so that the horn became functionally friendlier. “Hopefully when I go to England later this month, I’ll have the time to hook up with Jeff Lawton and meet him in person for the first time. Otto Link Four Star 6 Hawkins special given by Illinois Jacquet, Dukoff BD Hollywood metal 5* slightly refaced, Otto Link Master Link Coleman Hawkins special facing, Otto Link Four Star metal Coleman Hawkins special facing, Otto Link Four Star Coleman Hawkins special facing, Coleman Hawkins Otto Link Master link mouthpiece model, Coleman Hawkins Otto Link Four Star mouthpiece model, Coleman Hawkins Otto Link Tone Master mouthpiece model, Woodwind steel ebonite "Chester Hazlett" model, Otto Link metal 7* refaced at Otto Link factory. Below: Coleman Hawkins hand signed Roy J Maier reed n°4.
Though 18 Monologues Élastiques is, technically speaking, a solo album, it’s evident from the outset that Samuel Blaser was not alone during its recording. Referencing hip-hop? I like the old brown box Ricos, generally from 21/2 to 3 and 31/2. ����Z�$賎(�-��(�5q�8C'ZjIX�aN�(�C��qL����@#��~��O�RIK. Now I can strip a horn and put it back together, if there aren’t any complications, in a half hour.”. For me it was his unaccompanied tenor feature in the Apollo Theater premiere of the late Julius Hemphill’s saxophone opera, “Long Tongues,” a condensed history of jazz that had as much to do with Jimi Hendrix as John Coltrane.
In a nutshell, if you want a Selmer (or Yamaha, etc. ) And while Carter employs all sorts of mouthpiece combinations, invariably he finds himself returning to some handmade brass mouthpieces made by Jeff Lawton of England, which were originally gifts from saxophone mentors Hamiet Bluiett and Julius Hemphill. Because they changed the bore, as in the inner chamber of the horn; they expanded it even more, I think, and with that they expanded the tone holes, particularly on the top of the instrument, as well as some on the bottom, to proportionally correspond to the bigger bore. get one, otherwise, get comfortable with the Conn ergonomics and play the horn as it was meant to be played.
“Besides Django, we’re doing period pieces such as ‘Avalon,'” Carter explains. Of course, it was short-lived because of the mechanics of it. endstream endobj startxref What got me started was I had an old horn that was my first instrument, and I had polished everything I could on the outside, and then I decided to take it to the next level and got up the gumption to take the keys off.
“Selmer were the first ones to put both tone holes for the bell on one side of the instrument, which keeps it from jacking up your clothes and gives it a freer vibration. By Joe Bananas in forum Brand Name Players ... By themacintrasher in forum Brand Name Players ... By Langstrup in forum General Mouthpiece Discussion.
They’re coated with plastic, so they’re a little more stable, durable, brighter; a good all-around performance, like the next best thing to a synthetic reed, but you still have the warmth of the cane. Published since 1970, JazzTimes—“America’s Jazz Magazine”—provides comprehensive and in-depth coverage of the jazz scene.
For instance, in 1946 the Grafton alto was patented—you know, that plastic alto that Bird and Ornette played. “And when I first put this Lawton on my baritone there was just this incredible beefiness to the sound and the whole upper register was so extended. I played them with Lester [Bowie], and when I really got into it the reed started giving way, and they didn’t even last me a song. By jAmEs cArTEr The Quest for THE saxophone mouthpiece “T here’s an inner musical tree that grows in each and every one of us.” —Dexter Gordon, as the character Dale Turner in the 1986 film Round Midnight (Warner Bros.).
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“Later on the Super Action 80s came into play, and they’re trying to get back to that Mark VI feel slowly but surely, and I don’t understand why they ever dropped it, but in a way I do. Otto Link Super Tone Master Florida n° 6*, Otto Link mpc's refaced Nicolas Trefeil, Brilhart // // //, Selmer Soloist // // //, Otto Link Tone edge refaced by Nicolas Trefeil, Otto Link Tone Master special facing made for him, Otto Link Super Tone Maszter Florida n° 10 *, Otto Link Master Link Coleman Hawkins facing, Otto Link Super Tone master New York Double Ring, Selmer short shank Soloist D, original facing. No curve in the bow like a regular saxophone—it goes straight down. So this pretty much established the standard of everything that you see out here today. And that’s how the Yamahas and, to a lesser extent, companies such as Yanigasawa came to be regarded, I feel, as the heir apparent to the Mark VI legacy, because everything I am able to do on the Mark VI, I’m able to do on the Yamaha 62 professional model or the Yamaha Custom, the top-of-the-line flagship model with all the thrills and dills and chills on it.
That’s your spiritual hook-up with the horn.
And Hawkins didn’t really think much of it later on in life; it was like something he had discarded-like that was as far as he wanted to go with it. Show Printable Version; 04-28-2010, 03:27 AM #1. tryonsax. Referencing hip-hop? It … Read More “Samuel Blaser Calls in From Funkhaus Nalepastraße”, In 2016, the Colorado-based tenor saxophonist Dominic Lalli stood onstage at Lollapalooza, playing thick, funky lines with his electronic-music act Big Gigantic.
The thing that instantly popped out was the potential for a good sound on all these mouthpieces, for a really extended range and a rich mix of overtones and harmonics. © 2020 Madavor Media, LLC. It brought the reverence of the Mark VI to the palette of late ’70s and early ’80s, up to the present.”, Of course, what makes each and every saxophonist unique is the nature of his or her basic reed mouthpiece setup. no way that sax cost 3 grand before the mutilation occurred...... And what mouthpiece he is using in this video??? Sonorous metal blowing martial sounds. 10 0 obj <> endobj
When they turned this column around here, and made the left side offset from the right, both arms were relaxed, and that improved the flexibility and the playing action and the comfort overall. James Carter Blows Through Saxophone History, “Samuel Blaser Calls in From Funkhaus Nalepastraße”, “Dominic Lalli Explores his Acoustic Side”, “Nubya Garcia Stands Out on London’s Jazz Scene”, “Louis Armstrong: The Return of the King”, The Day Louis Armstrong Lost His Color: A Short Story, Samuel Blaser Calls in From Funkhaus Nalepastraße, Nubya Garcia Stands Out on London’s Jazz Scene. Because all of the keys on the main part of the horn were in line up until the time of the Super Action.
Sonorous metal blowing martial sounds.
Sonorous metal blowing martial sounds.
Just the same as Duke did with mutes.”.
It was to accommodate his big hands or whatever.”. Because he was like 6’4″, with big hands, and that’s why the key spatulas were big on the Mark VII. Otto Link hard rubber especially made for him with a Larsen tone chamber. Such an intimate understanding of the saxophone’s mechanical makeup helped facilitate Carter’s explorations into the expressive possibilities of both modern and vintage instruments.
In walking me through the evolution of ergonomic innovations Selmer introduced (culminating in their famous Mark VI line, the pre-eminent choice among discerning jazz saxophonists from the mid-’50s through the mid-’70s), I gained a greater appreciation for the issues which influence saxophonists’ choice of instruments, and the present state of the modern saxophone family. “I mean, this guy hand-makes each and every one of his mouthpieces out of a solid bar of brass,” Carter enthuses.
“Now you come up to 1974 and they changed everything by coming up with this improved model, quote/unquote, which was the Mark VII. It wasn’t like the sound instantly popped out. They just run the whole gamut without missing a beat. Proceeding from roots sources in spirituals and blues, Carter got to steppin’ through cunnilingual swing balladry, serpentine boppish elisions, postmodern episodes of feverish feedback-styled riffing and speaking in tongues testimonies; finally, he turned his tenor into a beat box with a percussive admixture of key pad pops and slap tonguing. All this material has a lot of melodic merit to it, particularly in the type of chamber context we’re exploring.”. It’s a not so quiet renaissance.” A renaissance Carter became aware of in Detroit, coming of age as the youngest sibling in a musical family, and hanging out with the older musicians at the now defunct Horner’s Music, where he developed a hands-on knowledge of how to service and rebuild saxophones himself. Otto Link Reso Chamber refaced by Nicolas Trefeil, Selmer Super Balanced Action long bell 1952>, King Super 20 Silver-Sonic East Lake single socket neck, Otto Link Master Link " Vido Musso " model, Otto Link Four Star // // // //, Otto Link Ebunated Bar // // // //, Selmer Soloist short shank refaced and modified chamber 7* tip, Selmer gold plated Balanced Action long bell, Selmer Air Flow refaced by Nicolas Trefeil, Otto Link Super Tone Master Double ring N° 8, Otto Link Tone Edge Early babbitt refaced to 9 /9*, Otto Link metal 7* that has been relayed many times, Otto Lik Super Tone master double ring NY, (with duplicated facing of ArthurRollini own Otto Link four star), Otto Link Improved Tone Master special Babe Russin facing (BR), Otto Lik metal super Tone Master Florida 9*, Selmer Soloist Short Shank refaced by Nicolas Trefeil, Otto Link Super Tone Master Florida usa 9*, Otto Link reso Chamber refaced by Nicolas Trefeil, 1952 Selmer Super Balanced Action long bell, Otto Link Four Star n°5 allegedly handcrafted by L.Young himself, Becs saxophone - Refacing.
Like this was one of our prize babies, but now we’re much more advanced and we’ve got it to the point where it’s in tune with itself—perhaps not in tune with the world in a whole lot of instances. Carter laughs. JazzTimes: They might just figure it’s you being expressive, James. The thing that instantly popped out was the potential for a good sound on all these mouthpieces, for a really extended range and a rich mix of overtones and harmonics. They were made by Conn from 1928 to 1930. metal ( gold plated bronze) Berg Larsen 160/ 0 /M !