"Whether you're blowing over a II-V or hitting the lounge 2 minutes after 5"... You have the best sense of humor, sir! Really enjoy your work and your style. 🍸
My sax heroes have always been Desmond, Hamilton and Getz, but I love the uniqueness of every player and what the bring to the table through technique or heart. Thanks for your sage advice and perspective!
Paul Desmond has always been my hero. Does it get any cooler than that? It does not. So many great players, so little time. Stan Getz, Zoot Sims, Coltrane, etc.
Dr Wally, I love the content of your videos. I love that dark 50’s sound on Jimmy Forests version on Night train and try my best to emulate it during playing 🎷
Excellent video as ever 👍. I've recently got a mouthpiece that gets me in the ballpark so these tips will help me finesse the tone I'm listening for (note avoidance of visual analogies).
Great video Wally with great advice! The soft saxophone sound is massively underrepresented in today's jazz scene. Probably because of the survival of the fittest (loudest) sounds in jamsessions environments it doesn't really get facilitated enough, imho. One player that has a tremendously beautiful dark and warm sound is Hayden Chisholm from New Zealand. If you lisetn to for example his tune "Mendoza" or anything he played really, it's beyond words how soft and elegant his sound is. In a different way than Desmond though, but there is still so much nuance on the dark side to be discovered. Love the Dry Martini reeds by the way, when will you start selling them?
Hey Man, thanks! I think you're right on about the "survival" concept - trying to stand out in a sea of virtuosity. I'll check out Hayden Chisholm, excited to discover a new player. I think the Dutch saxophonist Benjamin Herman (my favorite current player) has a good bit of nuance as well. I've enjoyed your videos as well, by the by, excellent stuff! The Martini Reeds will live in the land of "Wally took a joke too far," but maybe one day they'll be real? Hope you have a great weekend, hope we can grab a (virtual) coffee and chat at some point.
@@drwallysax Oh yes, Benjamin Herman is a big name here on the scene as he's Dutch, and I'm from neighbouring Belgium. Having that (probably virtual at this point) coffee sounds like a lovely idea, just catched an episode of your podcast vy the way on the Atomic Habits. Great listen! We're at Sharp Eleven also seriously overthinking to do more podcast/interview style content, we've done a bit already), not sure of the velocity yet, but would love to have you on there in the future. Let me know if that sounds like something, all the best, Jorre
I was just playing some Paul Desmond transcriptions yesterday and I was wondering why my tone wasn't cooperating. This is just the video I was looking for!
Thankyou for another funny and informative session! I like Coleman Hawkins, Ben Webster, Chu Berry, Sonny Stitt, anyone from that era really, they're all brilliant in their own way
Some great points, Dr. Wally. Especially number two. I think trying different reeds is a very underrated thing these days. I believe many players would be very surprised at what a difference it can make. It can get expensive - but not as expensive as buying another mouthpiece. Also a very interesting point about the fulcrum. I’ve always noticed that David Sanborn plays at a very acute angle.
I think Sanborn would be the first to tell anyone NOT to emulate his posture and playing position (he plays that way due to physical limitations brought on by having polio when he was a kid). But Sanborn's posture (and sound!) does illustrate how many variations there can be with playing position/mouthpiece angle/bite alignment, etc and how our individual sound is something we have to work to discover ourselves. As the good Dr says in the video, it really comes down to the ears!
I like the dark approach of Nature Boy by Art Pepper, where he starts with a really low dark note (B for alto) and the begins a conversation with the bass...wauw! I recently discovered Bud Shank when I had to play Walkin' on a gig...I listened to the version of Bud Shank and it was an eye opener. Great lesson Dr. Wally I'm a fan of you.
Fun video. I was able to duplicate (what I understand was) Paul’s setup by acquiring an original Gregory 4* that I paired with some NOS Rico Royal reeds I had from the 80s. It gets me pretty close; now the rest is on me.
I just watched your video about reeds and when you said "now you might ask what water should i use? dont be stupid, its just water" i lost it. i love your humor and i love your videos. i comment here so you will read it more likely.
Paul, Getz, Konitz , Mintzer, Temperley comes to mind. I love when alto’s almost sounds like tenors! I studied with Konitz briefly, and his focus was on tone, sound! Without a Sound you are Nothing! My main teacher had studied and played with Getz. This is the Sound I hear! I started really getting into this after my father once told me he hated altos because they sound too squeaky! He was right! I’ve always been going for a darker sound ever since!
Finally! A Desmond video! I own a Dry Martini replica of the original M.C Gregory Model 18 and have strived for his sound, and am getting close, my upper register is already there! Thanks Wally!
Thank you yet again Dr. WAlly. I've been chasing the warm sound (Exit buzz) for years. I've finally found it on alto with a HR (Hard rubber) Meyer 6M and a 3.5 Vandoren Trad reed. Tenor HR Meyer 5M and Jazz Select 4H reed. The 8's and 9's Mouthpieces are a thing of the past for me.
Stanley Turrentine. Love his sound, even on his later recordings. On alto there’s Johnny Hodges, of course. Maybe Lee Konitz? but it’s harder to come up with post Desmond altoists who play in that sound tradition.
Dear sir, you are sooo interesting, the way you explaain things makes my life so nice, thank you so much for your nice work and if you ever come to Edmonton in Alberta, just let me know
This video has a very clear explanation of the basics of voicing that will help many players improve their sound! It's nice to run across players that favor the cool school tonal quality for saxes. The one name you left off (in my opinion) is Warne Marsh. His sound at that time was heaven to my ears. With respect to mouthpieces, I have found that buying a piece designed to favor the sound I'm striving for is important. Can I make a Dukoff Super Power Chamber sound like Stan Getz,? I'm sure but it will take a lot of work. OTOH, taking something like a Rubber Link there is much easier.
Dr Wally, I like the idea of relative fulcrum points. More mouthpiece or less mouthpiece inside the mouth. Everyone should be able to do this in a couple of parsecs since no mouthpiece I will ever see has a window of about 206,000 Astronomical Units (the average distance of the earth from the sun). Great video with lots to think about. And I am with you, I love the West Coast Cool.
I find Eric Alexander's tone really interesting. Not what I would want to sound like myself but very, well, confident, clear, and intense without a hint of strain, rich without sentiment. Very much itself, like Webster's tone is. Dunno if either counts as dark.
Dr. Wallace I would have never considered Desmond has having a "Dark" sound. Desmond is light, breathy and airy - like Getz, whom I love! When I think of Dark Subtones I think of Gordon, Henderson, or Donaldson.
I bought the Jody Jazz HR Custom Dark mouthpiece and the sound is really more dark as with my other mouthpieces. Using the other techniques you have mentionned, surely the sound will be more vintage
I'm trying to figure out if I should be playing my alto in front of me, or to my right side? I practice about 90 minutes ago, so I'm not keen on practicing standing up.
Paul Desmond on Tenor , l wonder how it would ve sounded …Gerry mulligan also has nice tone Lately l have been listening and liking Alessandra Bertozzi on alto sax , wonderful playing ❤❤❤
Nice tips, Doc! Apart from the obvious choices I like Ike Quebec's tenor sound. Big, lush, sumptuous...I mean his album Blue and Sentimental is a complete masterpiece.
@@drwallysax He was one of the swing era players that transitioned to more of a hard bop style like Dexter Gordon, for example. He was active behind the scenes at Blue Note doing charts and arrangements for recording sessions. Apart from his own albums, he is on Grant Green's album "Born to Be Blue" and makes a cameo on Sonny Clark's album "Leapin' and Lopin'" - he is featured on the ballad "Deep In a Dream." Sadly his career was cut short when he passed away from lung cancer in 1963.
@@drwallysax Late to the party, but Ike Quebec's rendition of Nature Boy on his Heavy Soul album is extremely tasteful and quite special IMHO. If you haven't heard it already, I think it might be right up your alley.
Dr wally- really nice. Thank you. I prefer cannonball and phil woods but i think it's important to learn to play dark like desmond and to experiment with the techniques you presented. I'm wondering why you didn't model the "hee haw" with a short demo of that?
I though it too, until I heard him live for the first time back in 2012. He has a wonderfully bright and "present" tone, his attack is not harsh but very articulated even on fast lines, and the resonance on long notes is bright and not muffled at all. The records simetimes are fooling us lol
Hi sir I'm from India... I do follow your videos. I want one suggestion from you. Is it OK if I use a ( legere American or studio cut synthetic reed) and what strength do I use. I use the vendoren jazz bamboo reed 2.5 strength at present
Interesting that you describe Desmond's tone as "dark" and "warm". I suppose it is - it's certainly not that screeching Sanborn R&B tone, nor is it muffled like Ben Webster. I 'd call Desmond's sound "singing", though it isn't the operatic, vibrato-heavy classical version of that ideal either. Maybe it's like a classical sax tone, but with little or no vibrato, and hence without that gurgling, head-in-a-bucket effect.
Hi Doctor Wally, What are the chances of someday getting a few lessons from you via zoom. I connect with your love of the sounds of Getz and Desmond. I only p,any the sax because I listen to Getz in the 50s with my Dad. So what are the chances I can pay to get a few zoom lessons from you? Doctor J.
I play on a King Super 20 with silver bell and neck. I first played tenor and eventually I got an alto, too. When I was in high school people said that the King had a bright sound. I just knew that there were three things I really liked about the King vs Selmer. The upper side keys were easier to reach on the King. The King was more free blowing than the Selmer and I liked the sound. Over the years I've figured the King sounds darker than the Selmer and I like that. I'd like to get a Buffet alto SuperDynaction because of the darker sound. I have since played 1 Selmer MKVI tenor that was free blowing and a very few altos. The Superneck seemed to have less resistance. I haven't cared for other tenors. I'm playing on regular Rico reeds on sax because of cost. I still play blue box Van Doren on clarinet. 3.5 strength all round. Meyer hard rubber on sax and Van Doren 5JB (open!) on clarinet. Covid killed me and all I did was scales to keep playing. Now I'm catching up again but I'm glad I don't have to do any 4 hour gigs. Desmond is probably my favorite sax player but I don't know of any others I really like. I enjoy Boots Randolph but Zoot Sims is my favorite tenor. Gerry Mulligan is fabulous on bari. FWIW on clarinet I play more Pete Fountain but I think Benny Goodman was the best. I think my sound is quite dark on tenor but it sounds brighter on alto. Sometimes alto seems too bright whereas soprano sounds very sweet to me. Especially pure high notes. When your nose is down you really seem to be trying to push your chin into your throat. I play nose down mostly. When I want more volume and a more piercing sound I push my horn out from my body and go nose up. I was at the Musik Messe in Frankfurt, Germany and I went around trying out baris. I really liked the Yamaha (1983?) because of the dark sound. I spoke with another guy who really liked the Selmer because it had lots more edge to the sound. Yes, we agreed about the relative tone of the horns but we wanted different things. Thanks for the videos. Tom
I prefer cane, but keep a couple of Venn and Legere for emergencies. I highly recommend my students have at least one, great way to problem solve (removing a variable of cane). I love cane, but am happy my students love synthetic as well! If you're having fun playing the saxophone, you're doing it right ;)
I've been trying to learn how to play sax for exactly four months so far.., and I listen to all of these CZcams pros, and instructors play and review everything from Amazon junk horns to expensive pro Yanigasawa, Yamaha, Selmers, etc ., with expensive mouth pieces, and all that wonderful stuff. I like the sound of the Jean Paul AS400, better than the Mark VI, and the rest of the big names. It has the "dark sound ," that you are talking about. You might say,.. this guy doesn't know anything about sax, and your right. I don't know enough to be influenced, or biased by what MUST be better because it's such and such. I just know what sounds good to me., without any preconceived notion of what I SHOULD like. I think that the player is more important then the horn, and the tone and feelings come from the player of any instrument. It can't be taught. You either have it or you don't. My two cents.., which is not what you probably normally get in the comments from the experienced players.
Respectfully - many incorrect assumptions here. It can be taught (I'm living proof, as are many many of my students). Your preferences for tone quality, are of course, yours to keep. I encourage you to keep an open mind and experience many different aesthetics. For only having a few months of experiences, I find it concerning that you have so many deeply held beliefs. When I'm new to a hobby, I prefer to stay open minded, not knowing what I don't yet know.
@@drwallysax I don't know what assumptions that you are deeming incorrect. Regarding sax tone, all I was saying is that i prefer the Inexpensive Jean Paul tone to that of Dave pollacks Mark VI, and others that pros have done comparisons with. It's subjective,.. but it's also an unbiased opinion, uncluttered with what knowledge that i don't have regarding expectations because of cost , and brand name. I have an open mind, but I stated what I think. Regarding a few months of experiences: .. That only pertains to being a beginner sax player, and I can't say I'm a "player,".. I'm a "tryer." Music wise, I've been playing gigs with bands as a guitar player , singer, and songwriter long before you were on the planet. I know feeling players, and I know who doesn't have it. You can't teach it,. maybe people can emulate it based on hearing someone else, but it will never be the real deal. I've tried to teach people . There are a lot of technically great players on these sax sites, but hitting the right notes, and playing in time mechanically, is not the same as playing with feeling. I don't care how many degrees you have, or accolades. Playing with feeling comes from the heart, not some instructor. You know it immediately when you hear it,.. and when you don't. . Respectfully. I respect anyone who can pursue an instrument to such extremely high technical levels as you, and the rest of these guys selling courses on line. I would never have the patience to endure all of the tedious fundamentals, and scales and exercises required to achieve that. On a side note. The reason I'm trying to play sax is because many years ago, I was in an act that played "Still Crazy ," and that sax part, always moved me. I thought about trying a long time ago, but it looked to complicated with the reeds, and all that. Anyway, I got the sax Jan.11, 2023, and i can play the song. I never touched one before, and for the first few weeks, it sounded like I was abusing some kind of animals. I skipped over the basic stuff, and went right to trying to play the high notes. I started with a 1.5 reed for a couple weeks then went to a 2.0, and a couple weeks later went to a Vandoren 2.5 , and the high notes got better., and now use a Vandoran 3 Traditional reed. ( High notes to me anyway,.ie. C sharp, D, E flat, E, F, and F sharp) I don't really need anything higher than than right now, although sometimes I accidentally hit some crazy high notes, that dogs might like, but I don't need. Brecker plays it with a tenor, but my alto sounds pretty good on it when I do it. It took me three months of practicing 3-4 hours a day, until my face hurt, but I can play it halfway decent, along with Baker St., and a few other popular sax tunes. Thanks for the conversation, You put out some great information for all levels of sax players. I''ve learned a lot from you, and the other guys on CZcams.
where I can buy those martini reeds? I've already got a special bamboo "glitter stick" mouthpiece for it )))) 2:22 if someone missed this masterpiece of ironic mastery
That is one cool looking turntable! What kind is it? I just recently rebuilt my old Technics (circa 1981). It has some sentimental nostalgia to it since I street-raced for the money to buy it. This was before racing was a felony. Ah, the good ol' days! I still have that old Camaro, btw!! Outlasted wife #1
@@drwallysax Thankfully I am also an engine builder from my youth. The Old Camaro's engine has less than 5000 miles on it. Can't say as much for either of the exes. Also have THE 2010 Yenko Prototype Camaro (1 of 1). It has only 2500 miles on it. Supercharged 600hp small block. Both run beautifully. If only my sax playing performance matched
I urgently need help. My notes from octave D to around G are good, but my low notes come out too bright. If anyone knows how to fix this, please help. I sound too bright on the medium and lower range.
Ahh this explains why holding your nose up is associated with snobby classical music. Meanwhile the soulful players are humble and look down in deep thoughts. I've heard of trimming the tips of worn reeds but I usually toss them. Now I'm going to try it. Maybe it'll stiffin it up and darken the tone? Plus it might give a reed a second life. For me thicker reeds are just harder to play and I run out of wind. I thought when I got better I will have more wind. I got older faster than I thought.
Resistance is the key (no pun intended); if there's no a interplay between air reserve in the mouth and air in the horn, a major aspect of playing is lost.
Dear Dr.Wallace! It‘s me , your Fan from Frankfurt, Germany, Street Musician there for 4 years now. The Schagerl Model 66 I told you about, was stolen two months ago, together with my beloved MC Gregory Model A mouthpiece, but I still got my Amati Toneking, and I play it with a Otto Link Tone Edge 5 now, because of budget reasons… but I‘m still playing! Now my Question: for most of my Life as a Saxophone Player I did an overuse of vibrato, to the point, where I do vibrato automatically, and I wanted to ask you, if you have maybe a good Idea to get rid of it, without having to concentrate to much and get distracted from my playing… or should I just accept it, as my personal style?
….and I just played and observed myself for the vibrato… maybe I can get rid of it alone, though I feel a compulsive need to play every longer note with a vibrato, even when I play my version of take five, and that makes me angry!
I don't like talking in terms of throat position, as though one should change that for different effects. The actual throat should be as relaxed as possible, to allow for maximum transmission of air. When talking about adjusting something, it should only be in terms of the embouchure, which goes all the way to the back of the mouth where it meets the throat. Embouchure is lips, tongue and cheeks only.
"Whether you're blowing over a II-V or hitting the lounge 2 minutes after 5"... You have the best sense of humor, sir! Really enjoy your work and your style. 🍸
Thanks Joe, have a great week!
bloody hysterical……
This was beyond amazing! I think "Like looking for the Eiffel Tower using a map of Chicago" is going to stick with me forever..
Awww, thanks USM, happy Tuesday :)
I love the darker Desmond sound, thanks for this 🙂
Most welcome, happy practicing John!
My day gets warmer and brighter whenever Dr. Wally uploads a video
Well that's incredibly kinds and made my day! Thanks Daniel - happy practicing my friend :)
Daniel..You
suck up! 😉
What a lovely compliment for our dear doc; couldn't have put it any better myself!
My sax heroes have always been Desmond, Hamilton and Getz, but I love the uniqueness of every player and what the bring to the table through technique or heart. Thanks for your sage advice and perspective!
Most welcome, Scott. Happy practicing!
This is the best advice so far I heard on producing a "dark sound" thank you,
Most welcome Eduardo, have a great weekend and happy practicing!
Paul Desmond has always been my hero. Does it get any cooler than that? It does not. So many great players, so little time. Stan Getz, Zoot Sims, Coltrane, etc.
I'll never get tired of collecting cool school records, so many great players as you note!
Learned a lot and watched it a few times because it was so funny. Thank you.
Great tone Dr. Wally ,great manner. Many thanks for your perfomance.
Great video again: accessible to all with what could be a very complicated topic. You also make me laugh which is always a plus!
Dr Wally, I love the content of your videos.
I love that dark 50’s sound on Jimmy Forests version on Night train and try my best to emulate it during playing 🎷
Thanks Daz, Night Train choo choo! Happy practicing my friend!
Now I can play like Desmond on my tenor :) thank you Doctor Wally
Most welcome, Jorge. Happy practicing!
Where were you 50 years ago when I needed this kind of info. Your tone is “out of sight”, man.
Wow, you nailed it with this track! 👏♥super sound
Always a pleasure to listen and learn from Dr Wally. Great dark sound from Guy Lafitte, Phillipe Chrétien [try Pour Juliette]
Thanks for the fantastic etude, Dr Wally. Martini reeds sound like a winner to me!
Marini Reeds, smooth flavor, smooth tone Francis!
FANTASTIC lesson, as always! :)
Well thanks, Nick, much appreciated my friend :)
Excellent video as ever 👍. I've recently got a mouthpiece that gets me in the ballpark so these tips will help me finesse the tone I'm listening for (note avoidance of visual analogies).
It's hard not to throw in visual/physical terms, right!? Talking about music is HARD! Hope you have a great week, Uncle Mick!
Great video Wally with great advice! The soft saxophone sound is massively underrepresented in today's jazz scene. Probably because of the survival of the fittest (loudest) sounds in jamsessions environments it doesn't really get facilitated enough, imho.
One player that has a tremendously beautiful dark and warm sound is Hayden Chisholm from New Zealand. If you lisetn to for example his tune "Mendoza" or anything he played really, it's beyond words how soft and elegant his sound is. In a different way than Desmond though, but there is still so much nuance on the dark side to be discovered.
Love the Dry Martini reeds by the way, when will you start selling them?
Hey Man, thanks! I think you're right on about the "survival" concept - trying to stand out in a sea of virtuosity. I'll check out Hayden Chisholm, excited to discover a new player. I think the Dutch saxophonist Benjamin Herman (my favorite current player) has a good bit of nuance as well.
I've enjoyed your videos as well, by the by, excellent stuff! The Martini Reeds will live in the land of "Wally took a joke too far," but maybe one day they'll be real?
Hope you have a great weekend, hope we can grab a (virtual) coffee and chat at some point.
@@drwallysax Oh yes, Benjamin Herman is a big name here on the scene as he's Dutch, and I'm from neighbouring Belgium.
Having that (probably virtual at this point) coffee sounds like a lovely idea, just catched an episode of your podcast vy the way on the Atomic Habits. Great listen! We're at Sharp Eleven also seriously overthinking to do more podcast/interview style content, we've done a bit already), not sure of the velocity yet, but would love to have you on there in the future. Let me know if that sounds like something, all the best,
Jorre
I was just playing some Paul Desmond transcriptions yesterday and I was wondering why my tone wasn't cooperating. This is just the video I was looking for!
Yay! glad it helped!
Hello, good hints. I love Paul Desmonds sound too. For me Scott Hamilton, Houston Person, Lester Young and Ben Webster have a dark tone.
Dr. Wally,
I just love you!! That martini!! I recently mentioned how you sound like Desmond. So I raise my martini on the rocks to you. Cheers!😮
Oh my, that's high praise indeed! Thanks Josh!
Great one… the editing is out of this world…
Well thanks! It was a labor of love for sure!
You are a great teacher!!❤
that is very kind! Thanks Victoria!
Thanks for the very good vid Doc. I have always been a big fan of Stanley Turrentine and the Dexter Gordon sound.
Turrentine doesn't get mentioned enough, what a sound!
Thankyou for another funny and informative session! I like Coleman Hawkins, Ben Webster, Chu Berry, Sonny Stitt, anyone from that era really, they're all brilliant in their own way
Excellent choices :)
Some great points, Dr. Wally. Especially number two. I think trying different reeds is a very underrated thing these days. I believe many players would be very surprised at what a difference it can make. It can get expensive - but not as expensive as buying another mouthpiece. Also a very interesting point about the fulcrum. I’ve always noticed that David Sanborn plays at a very acute angle.
Good observation, Joe! I noticed that as well. Happy practicing my friend :)
I think Sanborn would be the first to tell anyone NOT to emulate his posture and playing position (he plays that way due to physical limitations brought on by having polio when he was a kid). But Sanborn's posture (and sound!) does illustrate how many variations there can be with playing position/mouthpiece angle/bite alignment, etc and how our individual sound is something we have to work to discover ourselves. As the good Dr says in the video, it really comes down to the ears!
I like the dark approach of Nature Boy by Art Pepper, where he starts with a really low dark note (B for alto) and the begins a conversation with the bass...wauw! I recently discovered Bud Shank when I had to play Walkin' on a gig...I listened to the version of Bud Shank and it was an eye opener. Great lesson Dr. Wally I'm a fan of you.
Fun video. I was able to duplicate (what I understand was) Paul’s setup by acquiring an original Gregory 4* that I paired with some NOS Rico Royal reeds I had from the 80s. It gets me pretty close; now the rest is on me.
Nice Sports coat Dr. Wally, looking sharp!
Great lesson . . . and, yes, I'm practicing!
You better be, I'm watching Tom....watching...
I just watched your video about reeds and when you said "now you might ask what water should i use? dont be stupid, its just water" i lost it. i love your humor and i love your videos. i comment here so you will read it more likely.
Paul, Getz, Konitz , Mintzer, Temperley comes to mind. I love when alto’s almost sounds like tenors! I studied with Konitz briefly, and his focus was on tone, sound! Without a Sound you are Nothing! My main teacher had studied and played with Getz. This is the Sound I hear! I started really getting into this after my father once told me he hated altos because they sound too squeaky! He was right! I’ve always been going for a darker sound ever since!
I've been listening to some Benny Golson on the Turning Point album lately and really like his sound and command of the tenor.
Benny Golson is such an interesting sound! Not my cup of tea, but I appreciate his playing so much (melodically and style). He's amazing for sure!
Finally! A Desmond video! I own a Dry Martini replica of the original M.C Gregory Model 18 and have strived for his sound, and am getting close, my upper register is already there!
Thanks Wally!
Excellent, happy practicing my friend!
Please explain your handle! Seems like it would have a great back story.
1:46 the way my mind accepted that as normal then double backed to hear what he said was crazy 😂
Wait, what'd I say? I'm normal dammit!
Thank you yet again Dr. WAlly.
I've been chasing the warm sound (Exit buzz) for years. I've finally found it on alto with a HR (Hard rubber) Meyer 6M and a 3.5 Vandoren Trad reed. Tenor HR Meyer 5M and Jazz Select 4H reed. The 8's and 9's Mouthpieces are a thing of the past for me.
Oh good! Glad you're getting the sound you love!
Ha! That's what I use on my alto. I have a Meyer 7G for tenor.
Stanley Turrentine. Love his sound, even on his later recordings.
On alto there’s Johnny Hodges, of course. Maybe Lee Konitz? but it’s harder to come up with post Desmond altoists who play in that sound tradition.
Konitz is likely my favorite alto player! LOOOOVE his sound and approach.
yes, stanley turrentine i like also a lot, thinking about his sound cool comes to my mind (but we didnt talk about cool :}. or warm ? any opinions ?
I was digging bossa antigua, then you upload, thank you mr. Wally
most welcome my friend ;)
Dear sir, you are sooo interesting, the way you explaain things makes my life so nice, thank you so much for your nice work and if you ever come to Edmonton in Alberta, just let me know
Thank you Pierre! Greetings from your southern neighbor (I hear Edmonton is lovely)!
love your work (very interesting)
Thank you very much!
Loved the video Dr. Wally!
Thanks man. Waaaiiit, are YOU my British counterpart? Like younger and better looking?
@@drwallysax haha! British yes, younger yes, better looking? Not sure about that one Doc.
@@OnlineSaxAcademy Luckily we play the saxophone, built in style. Let's grab a zoom coffee when you get a minute. I'll shoot you an email.
Great video thank you there all great
This video has a very clear explanation of the basics of voicing that will help many players improve their sound!
It's nice to run across players that favor the cool school tonal quality for saxes. The one name you left off (in my opinion) is Warne Marsh. His sound at that time was heaven to my ears.
With respect to mouthpieces, I have found that buying a piece designed to favor the sound I'm striving for is important. Can I make a Dukoff Super Power Chamber sound like Stan Getz,? I'm sure but it will take a lot of work. OTOH, taking something like a Rubber Link there is much easier.
I love playing his stuff on bari sax
I have allways been facinated by Cannonball Adderleys low registre, especially when he played dancing in the dark.
so clear and powerful. Dig that for sure!
Dr Wally, I like the idea of relative fulcrum points. More mouthpiece or less mouthpiece inside the mouth. Everyone should be able to do this in a couple of parsecs since no mouthpiece I will ever see has a window of about 206,000 Astronomical Units (the average distance of the earth from the sun). Great video with lots to think about. And I am with you, I love the West Coast Cool.
Thanks Steven, much agreed. Have a great week my friend!
I find Eric Alexander's tone really interesting. Not what I would want to sound like myself but very, well, confident, clear, and intense without a hint of strain, rich without sentiment. Very much itself, like Webster's tone is. Dunno if either counts as dark.
Ben Webster , Stan Getz Thanks for the great tips..
Getz.....the greatest :)
There’s only one I’m obsessed with…. Paul Desmond…. Art and lee also but Paul is the pure essence. To me… as always imho ….❤🎷4 ever
You have good taste my friend ;)
Thanks!
Holy crap, nose down! I've been practicing Corcovado lately and that made all the difference.
Makes for a much more lovely sound in some genres for sure!
@@drwallysax Yeah, the way I was playing it before sounded like I was trying to rip someone's face off.
Dr. Wallace I would have never considered Desmond has having a "Dark" sound. Desmond is light, breathy and airy - like Getz, whom I love! When I think of Dark Subtones I think of Gordon, Henderson, or Donaldson.
It's crazy subjective, isn't it?! You're not alone in that opinion!
I bought the Jody Jazz HR Custom Dark mouthpiece and the sound is really more dark as with my other mouthpieces. Using the other techniques you have mentionned, surely the sound will be more vintage
Cool, keep me posted!
I looked hard at buying that MP, but I've ordered the new Selmer Claude DAngle ( sorry about the spelling)
I'm trying to figure out if I should be playing my alto in front of me, or to my right side? I practice about 90 minutes ago, so I'm not keen on practicing standing up.
Stan Getz & Paul Desmond! 👌👌
Coleman Hawkins has my favorite dark sound.
Paul Desmond on Tenor , l wonder how it would ve sounded …Gerry mulligan also has nice tone
Lately l have been listening and liking Alessandra Bertozzi on alto sax , wonderful playing ❤❤❤
Thanks Dr Wally. As always helpful and good laugh. Concerning dark sound, what about Ben Webster?
Very dark and warm indeed!
Fantastic video
Thanks, Dale. Hope you have a great week!
@@drwallysax can’t wait for your album to come out to enjoy more of your darker tone!
wally your great teacher demond used a number 4 very hard reed with that gregory mouthpeie very small opening
Brilliant Doc, Nice deck too (dunno about the TV..). Two 'n's in Millennium though....
I had the cheap knockoff as a kid, only one "n".
Nice tips, Doc! Apart from the obvious choices I like Ike Quebec's tenor sound. Big, lush, sumptuous...I mean his album Blue and Sentimental is a complete masterpiece.
I'm not familiar with him? I'll check it out for sure!
@@drwallysax He was one of the swing era players that transitioned to more of a hard bop style like Dexter Gordon, for example. He was active behind the scenes at Blue Note doing charts and arrangements for recording sessions. Apart from his own albums, he is on Grant Green's album "Born to Be Blue" and makes a cameo on Sonny Clark's album "Leapin' and Lopin'" - he is featured on the ballad "Deep In a Dream." Sadly his career was cut short when he passed away from lung cancer in 1963.
@@drwallysax Late to the party, but Ike Quebec's rendition of Nature Boy on his Heavy Soul album is extremely tasteful and quite special IMHO. If you haven't heard it already, I think it might be right up your alley.
Gotta go with Desmond, but like Angie (below) put it, there's so many really great ones.
Dr wally- really nice. Thank you. I prefer cannonball and phil woods but i think it's important to learn to play dark like desmond and to experiment with the techniques you presented. I'm wondering why you didn't model the "hee haw" with a short demo of that?
Ran out of time!
The sound and tone of johnny hodges is unmatched ..
Ben Webster is my ultimate tone.
Totally agree. Ben could do it all but he had no peer when it comes to ballads.
Webster has such a rich, warm tenor sound. It's amazing for sure.
Glad for you Ryan. But so what, you think anyone cares who your favorite ultimate tone is? Especially in this context of talking about Paul Desmond.
@@jackdolphy8965 what is your problem? Wally asked for our favorite tone and I don't play alto. So go STFU!!!
@@jackdolphy8965 I asked for opinions at the end of the video. Please be kind.
Johnny Hodges has a perfect sound ❤❤
Agreed. It's a hokey record, but check out him playing Misty with the Lawrence Welk orchestra. His sound is aahhhhmmmaaazing!
Pam sends love
Awwww, thanks Pam :)
Let's do lunch soon Ward!
I love that sound, and very good demonstration, which backing truck are you using ?
Used Band in a Box to generate it.
I approve this message🎷👨🏻
PS>Spoken like a truly experienced sax man! Keep up the good work, Dr. Wally.
Thanks my friend, hope you're having a great week!
@@drwallysax 😎👍Same 4 you..🎷🥳
Charles Lloyd has the most beautiful dark sound
I though it too, until I heard him live for the first time back in 2012. He has a wonderfully bright and "present" tone, his attack is not harsh but very articulated even on fast lines, and the resonance on long notes is bright and not muffled at all. The records simetimes are fooling us lol
I listen David Sanchez quite a bit. Mostly dark tone.
Suddenly I want those reeds…
My dear, and overly sincere Pianist friend thought it was real - now I'm wondering if we should make them ;)
Gin-flavored would not be my first choice! Good video Dr. Wally.
Like trying to find the Eiffel Tower while looking at a map of Chicago?
Just BRILLIANT
Hi sir I'm from India... I do follow your videos. I want one suggestion from you. Is it OK if I use a ( legere American or studio cut synthetic reed) and what strength do I use. I use the vendoren jazz bamboo reed 2.5 strength at present
Favorite tones: Desmond on Alto, Getz on Tenor.
Interesting that you describe Desmond's tone as "dark" and "warm".
I suppose it is - it's certainly not that screeching Sanborn R&B tone, nor is it muffled like Ben Webster. I 'd call Desmond's sound "singing", though it isn't the operatic, vibrato-heavy classical version of that ideal either. Maybe it's like a classical sax tone, but with little or no vibrato, and hence without that gurgling, head-in-a-bucket effect.
Have you tried the Morgan Dry Martini?
Hi Doctor Wally, What are the chances of someday getting a few lessons from you via zoom. I connect with your
love of the sounds of Getz and Desmond. I only p,any the sax because I listen to Getz in the 50s with my Dad. So what are the chances I can pay to get a few zoom lessons from you? Doctor J.
I play on a King Super 20 with silver bell and neck. I first played tenor and eventually I got an alto, too. When I was in high school people said that the King had a bright sound. I just knew that there were three things I really liked about the King vs Selmer. The upper side keys were easier to reach on the King. The King was more free blowing than the Selmer and I liked the sound. Over the years I've figured the King sounds darker than the Selmer and I like that. I'd like to get a Buffet alto SuperDynaction because of the darker sound. I have since played 1 Selmer MKVI tenor that was free blowing and a very few altos. The Superneck seemed to have less resistance. I haven't cared for other tenors.
I'm playing on regular Rico reeds on sax because of cost. I still play blue box Van Doren on clarinet. 3.5 strength all round. Meyer hard rubber on sax and Van Doren 5JB (open!) on clarinet. Covid killed me and all I did was scales to keep playing. Now I'm catching up again but I'm glad I don't have to do any 4 hour gigs.
Desmond is probably my favorite sax player but I don't know of any others I really like. I enjoy Boots Randolph but Zoot Sims is my favorite tenor. Gerry Mulligan is fabulous on bari. FWIW on clarinet I play more Pete Fountain but I think Benny Goodman was the best.
I think my sound is quite dark on tenor but it sounds brighter on alto. Sometimes alto seems too bright whereas soprano sounds very sweet to me. Especially pure high notes.
When your nose is down you really seem to be trying to push your chin into your throat. I play nose down mostly. When I want more volume and a more piercing sound I push my horn out from my body and go nose up. I was at the Musik Messe in Frankfurt, Germany and I went around trying out baris. I really liked the Yamaha (1983?) because of the dark sound. I spoke with another guy who really liked the Selmer because it had lots more edge to the sound. Yes, we agreed about the relative tone of the horns but we wanted different things.
Thanks for the videos.
Tom
informative
I’d be interested to know what dr Wally thinks of synthetic reeds 😊
I prefer cane, but keep a couple of Venn and Legere for emergencies. I highly recommend my students have at least one, great way to problem solve (removing a variable of cane). I love cane, but am happy my students love synthetic as well! If you're having fun playing the saxophone, you're doing it right ;)
I've been trying to learn how to play sax for exactly four months so far.., and I listen to all of these CZcams pros, and instructors play and review everything from Amazon junk horns to expensive pro Yanigasawa, Yamaha, Selmers, etc ., with expensive mouth pieces, and all that wonderful stuff. I like the sound of the Jean Paul AS400, better than the Mark VI, and the rest of the big names. It has the "dark sound ," that you are talking about. You might say,.. this guy doesn't know anything about sax, and your right. I don't know enough to be influenced, or biased by what MUST be better because it's such and such. I just know what sounds good to me., without any preconceived notion of what I SHOULD like. I think that the player is more important then the horn, and the tone and feelings come from the player of any instrument. It can't be taught. You either have it or you don't. My two cents.., which is not what you probably normally get in the comments from the experienced players.
Respectfully - many incorrect assumptions here. It can be taught (I'm living proof, as are many many of my students). Your preferences for tone quality, are of course, yours to keep. I encourage you to keep an open mind and experience many different aesthetics. For only having a few months of experiences, I find it concerning that you have so many deeply held beliefs. When I'm new to a hobby, I prefer to stay open minded, not knowing what I don't yet know.
@@drwallysax I don't know what assumptions that you are deeming incorrect. Regarding sax tone, all I was saying is that i prefer the Inexpensive Jean Paul tone to that of Dave pollacks Mark VI, and others that pros have done comparisons with. It's subjective,.. but it's also an unbiased opinion, uncluttered with what knowledge that i don't have regarding expectations because of cost , and brand name. I have an open mind, but I stated what I think. Regarding a few months of experiences: .. That only pertains to being a beginner sax player, and I can't say I'm a "player,".. I'm a "tryer." Music wise, I've been playing gigs with bands as a guitar player , singer, and songwriter long before you were on the planet. I know feeling players, and I know who doesn't have it. You can't teach it,. maybe people can emulate it based on hearing someone else, but it will never be the real deal. I've tried to teach people . There are a lot of technically great players on these sax sites, but hitting the right notes, and playing in time mechanically, is not the same as playing with feeling. I don't care how many degrees you have, or accolades. Playing with feeling comes from the heart, not some instructor. You know it immediately when you hear it,.. and when you don't. . Respectfully. I respect anyone who can pursue an instrument to such extremely high technical levels as you, and the rest of these guys selling courses on line. I would never have the patience to endure all of the tedious fundamentals, and scales and exercises required to achieve that. On a side note. The reason I'm trying to play sax is because many years ago, I was in an act that played "Still Crazy ," and that sax part, always moved me. I thought about trying a long time ago, but it looked to complicated with the reeds, and all that. Anyway, I got the sax Jan.11, 2023, and i can play the song. I never touched one before, and for the first few weeks, it sounded like I was abusing some kind of animals. I skipped over the basic stuff, and went right to trying to play the high notes. I started with a 1.5 reed for a couple weeks then went to a 2.0, and a couple weeks later went to a Vandoren 2.5 , and the high notes got better., and now use a Vandoran 3 Traditional reed. ( High notes to me anyway,.ie. C sharp, D, E flat, E, F, and F sharp) I don't really need anything higher than than right now, although sometimes I accidentally hit some crazy high notes, that dogs might like, but I don't need. Brecker plays it with a tenor, but my alto sounds pretty good on it when I do it. It took me three months of practicing 3-4 hours a day, until my face hurt, but I can play it halfway decent, along with Baker St., and a few other popular sax tunes. Thanks for the conversation, You put out some great information for all levels of sax players. I''ve learned a lot from you, and the other guys on CZcams.
For me, dark is Gene Ammons. That's why he and Sonny Stitt sound good together, he plays dark, Sonny plays bright. Nice contrast.
Gentle Jug is such a beautiful album ;)
where I can buy those martini reeds? I've already got a special bamboo "glitter stick" mouthpiece for it ))))
2:22 if someone missed this masterpiece of ironic mastery
Any chance for an episode devoted to "jazz fashion," e.g., jacket, shirt, tie or no tie...?
Likely a series of videos, culminating in wristwatches. Yes.
Where do I buy Martini Reeds do you have link?
That is one cool looking turntable! What kind is it? I just recently rebuilt my old Technics (circa 1981). It has some sentimental nostalgia to it since I street-raced for the money to buy it. This was before racing was a felony. Ah, the good ol' days! I still have that old Camaro, btw!! Outlasted wife #1
It's a Rega Planar 1, much cheaper than a Camaro! (probably as likely to break down though).
Hope the Camaro outlasts wifes 3-5 as well!
@@drwallysax HAHA! Outlasted #2. I decided to retire from the whole marriage thing.
@@drwallysax Thankfully I am also an engine builder from my youth. The Old Camaro's engine has less than 5000 miles on it. Can't say as much for either of the exes. Also have THE 2010 Yenko Prototype Camaro (1 of 1). It has only 2500 miles on it. Supercharged 600hp small block. Both run beautifully. If only my sax playing performance matched
I think Hank Mobley has a "dark"-ish tone that I like.
Fantastic!! Can I get an Irish Whiskey reed? If so, Midleton Very Rare.. please!
Living in NC, so close to kentucky, I think a bourbon reed is likely first. But I'll get our chemist on the irish options as well ;)
@@drwallysax Well, as long as you insist...Elijah Craig 18 yr please
What model of alto are you playing in this video? The table keys look modern but there's no high F-sharp key.
It's a late mark vi - soooo much better than the supreme :)
I really want some of those reeds. How many can I play and still drive legally?
Depends on the B.A.C. limit in your jurisdiction. Please play responsibly.
I urgently need help. My notes from octave D to around G are good, but my low notes come out too bright. If anyone knows how to fix this, please help. I sound too bright on the medium and lower range.
Dr. Wally, whatever happened to the ligature you were developing?
In prototyping now, had to change manufacturers (big jump up in quality).
I would buy those reeds.
Me too, me too!
Look down your nose for classical? Now there's a gratuitous stereotype for you, Dr Wally!
(I think I need Martini Reeds.)
Love your episodes.
Ahh this explains why holding your nose up is associated with snobby classical music.
Meanwhile the soulful players are humble and look down in deep thoughts.
I've heard of trimming the tips of worn reeds but I usually toss them.
Now I'm going to try it.
Maybe it'll stiffin it up and darken the tone?
Plus it might give a reed a second life.
For me thicker reeds are just harder to play and I run out of wind.
I thought when I got better I will have more wind.
I got older faster than I thought.
Resistance is the key (no pun intended); if there's no a interplay between air reserve in the mouth and air in the horn, a major aspect of playing is lost.
Dear Dr.Wallace! It‘s me , your Fan from Frankfurt, Germany, Street Musician there for 4 years now. The Schagerl Model 66 I told you about, was stolen two months ago, together with my beloved MC Gregory Model A mouthpiece, but I still got my Amati Toneking, and I play it with a Otto Link Tone Edge 5 now, because of budget reasons… but I‘m still playing! Now my Question: for most of my Life as a Saxophone Player I did an overuse of vibrato, to the point, where I do vibrato automatically, and I wanted to ask you, if you have maybe a good Idea to get rid of it, without having to concentrate to much and get distracted from my playing… or should I just accept it, as my personal style?
By the way, you really seem to know what you‘re talking about, I just tried out to put my nose up and the result was a very classical sound!
….and I just played and observed myself for the vibrato… maybe I can get rid of it alone, though I feel a compulsive need to play every longer note with a vibrato, even when I play my version of take five, and that makes me angry!
I don't like talking in terms of throat position, as though one should change that for different effects. The actual throat should be as relaxed as possible, to allow for maximum transmission of air. When talking about adjusting something, it should only be in terms of the embouchure, which goes all the way to the back of the mouth where it meets the throat. Embouchure is lips, tongue and cheeks only.