KB Sax Handcrafted Saxophone Necks Introduction I visited Kim Bock’s shop a few years ago to try out various vintage Selmer and TM custom saxophones as well as gain a better understanding of his repair work since more and more players were going to Kim to have their saxophones overhauled and setup. Recently, Kim has [read more…]
One of the most bewildering things for people learning to improvise can be how to add chromatic notes into their playing. We often learn chords and scales, but simply knowing them doesn’t make us able to play the colorful and interesting notes that make up the solos of so many of the greats, as well [read more…]
Regardless of your horn, mouthpiece, or reed, the truth is, to the outside listener, you sound pretty much like...you. It's not that gear doesn't affect your sound at all, but your biggest and richest sound will only come by developing the skills within both your body and mind to sound great on any setup.
So if you're willing to move beyond having your day ruined by a lousy reed, then sax legend David Liebman's course, Ultimate Guide to Saxophone Sound Production is where you're going to want to go next.
Broken down into bite-sized lessons, this streaming video program covers just about every single aspect of saxophone sound production. It represents his entire life's work teaching the techniques and concepts that were handed down to masters such as Michael Brecker, Bob Berg, and Harvey Pittel (among many others), and then refined over the course of decades teaching countless lessons and masterclasses worldwide. Click below to see for yourself why so many professional saxophonists consider David's thorough, methodical, and practical approach the "real deal" for players at any level.
SAXOPHONETONE.COM
The Ultimate Guide to Saxophone Sound Production
Bravo Reeds Introduction With the various limitations that traditional cane reeds present to saxophonists such as warping, consistency, and longevity. There are more and more manufacturers coming to the market with synthetic alternatives to address these issues. I have tried various synthetic reeds from Legere, Bari, Fiberreed, Forestone, Fibracell, and although I still prefer traditional [read more…]
This guest post is from saxophone and multi-reed player, composer, recording artist, and educator Sam Sadigursky of SamSadigursky.com One of the best ways of building your ears and learning the jazz vocabulary is to transcribe solos by the masters. It’s one of the few things that, in some form or another, just about every jazz player has [read more…]
ReedJuvinate Introduction I have struggled like many saxophonists to find a good reed. I would say most to all players have bought a box of 5 or 10 reeds and have only found one or two reeds that play well right out of the box. Some methods I have used to improve the overall reed’s [read more…]
Klangbogen Introduction At the 2016 NAMM show, I stopped by ReedGeek to check out the ReedGeek Black Diamond G4. While at the booth, Mauro Di Gioia, founder and president of ReedGeek, showed me a new device he called the Klangbogen. To gain a better understanding of what the Klangbogen has to offer, I will be [read more…]
I used to struggle with chromaticism in my solos. I wanted nothing more than to achieve that bebop sound, weaving in and out of chord changes effortlessly and never repeating myself. It wasn’t until I consciously sat down and came up with some exercises geared specifically toward this concept that it started to come out [read more…]
Stephan Kammerer MouthpiecesIntroduction The first time I heard of Stephan Kammerer is when I visited KB Saxophone Services in N.Y.C. Kim Bock introduced me to some of Stephan’s prototype hard rubber mouthpieces while I was test playing various SBA’s and Mark VI’s with my Otto Link Slant Signature tenor mouthpiece. I remember playing one of [read more…]
Bill Plake’s “Essential Polymeter Studies In 4/4” Introduction Before I talk about Bill’s e-book Essential Polymeter Studies In 4/4, I thought you might want to find out more about the author. Bill Plake is “a saxophonist, flutist, composer, and an Alexander Technique teacher, certified by the American Society for the Alexander Technique (AmSAT). He is [read more…]
You know the saying, “you can never be too thin or have too big a saxophone sound…” Ok, well maybe that’s not really a saying, and maybe there is such a thing as being too thin (hey, I live in L.A., I know these things). But seriously, just about every single set of eyeballs reading [read more…]
Tips and Techniques from the pros PLUS free access to the Sax Lessons with the Stars archive - 10 years worth of interviews and exercises featuring the likes of David Liebman, Bob Mintzer, Ben Wendel, Bob Reynolds, and many more!
