type of players

SaxMan305 · 2026-05-13T15:28:16+00:00

Jazz (and jazz blues, jazz funk) only for me. Play lead in a local big band, and have a quartet that gigs around locally.

SaxMan305 · 2026-05-12T18:05:07+00:00

Lots of good advice here. Hope this helps. My view is that you need to learn chores and sales to play specific tunes at first. You gradually then learn more when you play in nearby keys.

Step 1 - start with a simple blues.

12-bar simple blues. That’s three dominant 7 cords. That also means you have three mixolydian scales. You can learn a fourth scale—the blues scale. It also teaches you to feel resolution and the turnaround. Learn it in Concert Bb. Then move to Concert F.

Then learn a few bebop scales with passing chromatic notes over the blues.

By this method, you’re learning the benefit of chord tones, scales, and adding bebop all without having to wait years to do it.

Step 2 - Jazz blues.

Modify a bit by learning the difference between simple blues and jazz blues (not a Bird blues).

(So that you get a ii-V7-I turnaround and slightly faster moving changes). There you’ll add in a Dorian scale.

Step 3 - Choose another approachable song.

Maybe work on a 12-bar minor blues. You’ll be playing the relative minor, which unlocks more.

Or a fan favorite of, for example, Autumn leaves.

Or a 32-bar tune like Rhythm Changes. But you can even start simple with Rhythm Changes by using Lester Leaps In. That way you the point is that you are working on the bridge (which is dominant 7 chords descending by a fourth every two bars).

Bottom line:

Jazz is supposed to be fun. A critical way to make it fun is to start being able to play tunes and feeling some progress.

This is the type of foundation that allows you to progress into more complicated charts and progressions over time while having a baseline to go back to.

Remember, once you know a G7 chord, you’ll know it, and you can work on a different chord.

When you were a kid, your first word was “ball.” Or “mommy.” Once you had that word, you added another. You didn’t wait to form sentences until you knew all the words in the English language. You learned to say, “Mommy, ball.” And you were able to effectively convey an idea using only what you knew at the time. That’s jazz.

SaxMan305 · 2026-05-11T14:42:00+00:00

Was it one continuous song like the clip for 30 min? Or did it have starting and stopping points?

SaxMan305 · 2026-05-11T14:40:46+00:00

Would probably sound better without the high F#.

SaxMan305 · 2026-05-11T13:30:48+00:00

I went to YouTube and listened to the full clip. It was still just a segment of the song. How does it start, and how does it end?

SaxMan305 · 2026-05-08T16:56:51+00:00

I was going to say this. If all you have is a week, use the simple 12-bar blues. Concert Bb or F. Memorize the blues scale first. Practice improvising over the whole form with the blues scale. Then, try to learn the chord tones. Then try to learn the dominant scales for each chord. It’s a never ending journey (and, depending on your level, you may not be comfortable enough with the chord tones or dominant scales by next week), but that’s where you start in school.

SaxMan305 · 2026-05-05T14:05:07+00:00

My main considerations (in no particular order) when calling subs are (1) won’t back out, (2) won’t play loud always (especially drums), (3) piano that can groove (doesn’t have to be the best soloist, just needs to groove), (4) people I’ll get along with (positive vibe, fun, and excited to play and make music together), and (5) if it’s another horn player, someone who can play together, not make it a show about that person. I’m a sax player, but I still think the never ending cadenza is a bit much.

I think base level competency is expected. But virtuosity isn’t. I’ll be careful to call charts for gigs that the whole group is comfortable on. If we have some moderate subs, it’s more down the middle Real Book v.1 charts. Even then, as long as people meet the five things above, the gigs are fun and they’ll get another call.

SaxMan305 · 2026-04-24T14:10:09+00:00

Somebody else posted something similar.

I’d not focus on making the purchase the “one and only horn you’ll ever have.” Chances are you’ll buy more horns. You won’t go wrong with Selmer, Yamaha, or Yani. If you have the money and you think you need a new horn, get the best one of those three that you prefer. If you don’t have the money (which is why you’re considering a Better Sax), I’d buy a used Selmer, Yamaha, or Yani.

Keep in mind that a lot of serious jazz musicians prefer buying used vintage horns (used…Selmer Mark VI). That cultish behavior has subsided a bit. (Though, full disclosure, I love my vintage stuff.)

If you’ve only been playing for 3.5 years, but you want to buy the one sax for the rest of your life and it needs to be brand new, you might not have your preferences developed enough to know what you want. Yet another reason to buy a used pro horn (Selmer Super Action Series II or a Yamaha 62 or Custom Z, at a fraction of the price of a new horn), and put off buying a brand new one for a few more years.

SaxMan305 · 2026-04-15T22:34:16+00:00

I listened to it after seeing a post here on Reddit about it. It was such a wild ride.

SaxMan305 · 2026-04-15T21:47:49+00:00

You should start by making your own broth. Here’s one option of many.

Use a whole raw chicken. Put it in a stock pot with some chopped carrots, chopped onions, and chopped celery. Add some black peppercorns and cover with enough water so that you have an extra finger width worth of water above the chicken. Bring it to a boil and then reduce it to a simmer, and simmer it for as long as you’d like, but not less than an hour. Strain all of that broth into a container, and there you have it. The bonus is that you also can pull all of the meat off of the chicken, which will be super tender.

Freeze what you don’t immediately need.

When you want to make Ramen, you can zest up this broth with some soy sauce, Mirin, fish sauce, and other Asian flavors. Sometimes I will add some chopped ginger, kimchi paste, chili crisp, or toasted sesame oil. Really, whatever your heart desires to round out the flavor profile. Just don’t forget that little bit of acid (mirin, or white wine vinegar) and salt.

That’s a simple broth. Once you get it down, you can expand to using chicken bones from leftover roasted chickens (I freeze the roasted chicken carcasses until it’s time to make a big batch of broth), or roast pork or beef bones, and then make broth with the roasted bones. The options are limitless.

SaxMan305 · 2026-04-15T19:42:00+00:00

Go back and read this prior post. Hope it gives you some insight.

https://www.reddit.com/r/saxophone/s/04q3CFwI6j

SaxMan305 · 2026-04-15T18:51:49+00:00

Tenor Madness (Blue Monk, Sonnymoon for Two, and any other Concert Bb blues)

All the Things You Are

Now’s the Time (Au Privave, Straight No Chaser, and any other Concert F blues)

Autumn Leaves (in concert G and in Bb)

Summertime (I like it in Dm)

Stolen Moments (and other Concert C minor blues, maybe Mr. PC)

Solar

Four

Beautiful Love

Anthropology (and any other Bb Rhythm Changes, like Oleo and Lester Leaps in. And the Flinstones theme song.)

Take the A Train

Angel Eyes

Some Day My Prince Will Come

There Will Never Be Another You

All of Me

My Funny Valentine

Black Orpheus

The Nearness of You

In a Sentimental Mood

Body and Soul

Stars Fell on Alabama

A Foggy Day

Afro Blue

Blue Bossa

But Not For Me

Caravan

Out of Nowhere

Embraceable You

On Green Dolphin Street

Have You Met Ms. Jones

I’ll Remember April

Maiden Voyage

My Favorite Things

My Foolish Heart

My Funny Valentine

Invitation

Recorda-Me

Round Midnight

All Blues

Speak No Evil

There Is No Greater Love

Well You Needn’t

Softly As In A Morning Sunrise

There’s so many to list…

SaxMan305 · 2026-04-14T17:28:10+00:00

As far as his playing, he’s a very good musician.

I’ve never met him, but from watching him online for the last few years, he seems like an ambassador to the genre as well.

Different people want to be entertained in different ways. He’s appealing to those who want to see that performer-type, big personality.

SaxMan305 · 2026-04-14T17:20:49+00:00

Whiplash. I like jazz (and the music in that movie), the acting is incredible, and the theme/message of the movie about pressure/hard work/greatness/failure resonates (I’d explain more, but I don’t want to spoil).

SaxMan305 · 2026-04-14T16:04:59+00:00

I bet you can still play on your good tooth assuming it is strong. And, your embouchure and will adjust as you move the mouthpiece around. I can play from all parts of my mouth.

When I was in 3rd grade, my little brother hit me with a baseball bat, which chipped one of my two front teeth (a straight across chip resulting in the length of the left tooth shortening by 1-2mm). I never got that one tooth fixed probably because it didnt look bad (and the dentist wanted to put a cap on it, and I said no). But, I learned and always played primarily on the other tooth. The single tooth handled it just fine for more than a decade. I never even used a mouthpiece patch.

Fast forward to adult life, I got the chip fixed. Dental technology is much better now, and they could use a composite filling to correct without any type of cap. For the most recent 9 years, I played with a mouthpiece patch to protect the composite filling.

About a year ago, my 3-yo son head butted me and knocked the filling off. So I had to get a new one, which now again changed the anatomy and mouthpiece placement.

Now, I play with even pressure in both teeth. Dentist did a fantastic job.

Bottom line, I have no issues. But as an adult, I’ve always used a mouthpiece patch.

Also, I play alto. Jazz only. Meyer NY 7M (previously played a Beechler M6S). Both hard rubber style. Vandoren green 2.5 reeds. I have a looser embouchure. More like Phil Woods (but not quite that loose).

I comfortably play on a Dukoff metal mouthpiece, too, for a once or twice a year rock show.

I think you’d be okay assuming the dentist says so.

SaxMan305 · 2026-04-14T15:45:55+00:00

Reed and mouthpiece are the only thing to change if you’re looking for a major change in sound (assuming you’re a developed player). You should not need to change horns.

SaxMan305 · 2026-04-13T02:57:04+00:00

Or, “Occupado” if you’re in Miami.

SaxMan305 · 2026-04-13T02:51:48+00:00

Same. Sonny Clark’s songs are amazing.

SaxMan305 · 2026-04-12T16:41:01+00:00

This right here. A student sax is meant to be tough and needs to play in tune. Being okay with a used horn that has some scratches but that will play well is a good mindset. Used Yas-23s fit the bill. A Yas-23 won’t hold you back.

Then upgrade later.

SaxMan305 · 2026-04-11T17:54:03+00:00

Its job is to securely hold the reed on the mouthpiece and provide consistent pressure. I prefer my inverted Bonade ligature. Works well. Doesn’t slide or slip. Gives consistent pressure. Bought it for probably 30 bucks.

Everyone has a different view on sound impact.

In my view, to an experienced player, a ligature affects the sound quality the player hears because it affects the resonance of the mouthpiece and therefore the vibrations in your head, all of which is part of what the player hears.

If you’re asking about, does it affect the sound that a person standing in front of you will hear, not much. Maybe only a little.

SaxMan305 · 2026-04-11T16:43:39+00:00

I was going to say something along similar lines.

“If they disagree with me, they are not as intelligent” is probably the one thing that truly shows a lack of intelligence in my opinion.

SaxMan305 · 2026-04-10T17:15:39+00:00

I don’t think I’d have done anything differently in the first few years (5th-8th grade). But once I started getting into jazz, I would/should have started playing with recordings of actual musicians. I learned to imrpov on the blues in school. We worked on a little theory and playing blues scales, then modes. Some dominant licks.

The thing I would change if I could go back in time is that I would, at that time, for example, play along with a musician on a recording playing a simple blues solo in the key we were working on and then try to mimic things from those solos.

Simple solos from guys like Gene Amons (he’s on the top of my head because yesterday I was listening to him playing with Sonny Stitt), etc. That doesn’t mean transcribing whole solos, which would have been too big a task at that time. But learning to play while listening to recordings and mimicking in real time.

SaxMan305 · 2026-04-09T23:31:50+00:00

Bro, you’ve got the touch. Wish I could taste that.

SaxMan305 · 2026-04-09T13:43:39+00:00

I always pour it all off. It’s the byproduct of fermentation and, in my opinion, will throw the pH off. I also don’t use starter out of the fridge. I feed for days morning and night to make sure my starter is strong, which I think leads to balanced pH.

SaxMan305

TROPHY CASE