Earlier this week jazz musician Yusef Lateef passed away at age 93. Lateef was known for his adventurous woodwind doubling, playing saxophone and flute, plus the oboe and a number of woodwinds from non-Western cultures. Here he is playing some tasty flute:
I’ve seen oboists look a bit uncomfortable when the topic of Yusef Lateef comes up, no doubt because his sound on that instrument was so different from the preferred American-school classical oboe sound. If you have been too quick to dismiss Lateef’s contributions as a jazz oboist in the past, I suggest you listen again with fresh ears, bearing in mind that his music was informed by jazz as well as the music of many other cultures, and that the “classical” oboe tradition was not necessarily relevant to his goals. Here’s some bluesy oboe playing:
I’ve already done thorough reviews of the D’Addario clarinet mouthpieces (twice) and alto saxophone jazz mouthpieces, both of which immediately replaced the competing Vandoren products I was previously using. So, naturally I’ve been very anxious for the release of the hard rubber tenor saxophone jazz mouthpiece, and I got my hands on some samples earlier this week. (Full disclosure: D’Addario sent me the mouthpieces for free, but with no strings attached. This is my best attempt to give an unbiased review.)
I’m pleased to report that everything I like about the clarinet and alto mouthpieces is true of the tenor mouthpieces as well: these are well-made, utterly consistent, easy-to-play, affordable, versatile mouthpieces. Like the clarinet and alto pieces, the Select Jazz tenor mouthpiece is going to be my new mouthpiece for the foreseeable future.
I like to be as low-fuss as possible about my gear. This is a sub-$200 mouthpiece, fully machine-made to fine tolerances, by a major woodwind accessory company. That means if I break or lose mine, I can quickly and easily get another that plays virtually identically from just about any online or brick-and-mortar music store. (Soon; the tenor mouthpieces don’t seem to be in many stores yet.) Check out my previous reviews for more in-depth discussion about that—in short, the days of having to order a half-dozen and pick the best one are gone.
The Select Jazz tenor mouthpiece is currently available in a medium chamber and medium facing, with tip openings from 6 (2.54mm/.100”) to 9 (2.92mm/.115”). I’ve been wanting to move to a little smaller tip opening, and the 6 is just what I was looking for.
The tip openings differ in the ways you would expect. The 6 likes a medium- or medium-soft strength reed, and the 9 needs a medium-soft or soft. The smaller openings are very slightly mellower in tone, softer in volume, and oriented toward stability rather than flexibility, while the larger ones are brighter, louder, and more flexible/less stable, but the differences really are pretty minor. The 6 is my favorite, but I could use the 9 on a gig in a pinch. Choosing your tip opening will probably be more a matter of comfort zone than a question of differences in sound or application.
My previous mouthpiece was a slightly older model Vandoren V16 metal mouthpiece, the T75 (2.67mm/.105″, I think). It served me well for quite a few years, but recently I’ve been less satisfied with its difficult low notes and overall edginess. (After having it for a few years the gold plating started to get some discolored spots, and ultimately got some pitting on the table, so it may not be playing as well as it once did.) Playing hard rubber for jazz on tenor is actually new for me—I’ve played a string of metal mouthpieces since high school—but the transition to the Select Jazz has been seamless. Eyes closed, I don’t think I could tell the difference material-wise.
For tenor in particular I want a mouthpiece that can do lots of things—a sweeter, mellower sound for small-group cocktail gigs, a punchier, gutsier sound for amplified rock and blues, precise articulation and rock-steady intonation for studio playing. The Select Jazz has a nice middle-of-the-road quality that moves easily between straight-ahead jazz and funkier sounds. I find that at a scream I don’t get quite as much bite in the tone as I do with the V16, but I was pleasantly surprised at the amount of bottom end in the sound at maximum volume. In other words, the V16 gets bright and aggressive when I push it, but the Select Jazz just gets big and powerful. I’m liking the tradeoff.
The Select Jazz also wins hands down for ease of playing (against the V16, which I originally selected for its ease of playing). I could just about play a classical recital on the #6 if I had to—the articulation and response are easy from low B-flat up into the altissimo. Like the V16, it strikes a nice balance between stability and flexibility. It’s easy to play in tune, but there’s also plenty of room to bend the pitch around when I want to.
I’m not going to do a thorough play-test comparison this time, because I don’t think it’s really necessary. My V16 is an old model, in poor shape, and metal, so the comparison isn’t really fair and they are perhaps somewhat different animals anyway. But here’s a quick demo of the 6, moving through a few different styles. (It was supposed to be one uninterrupted take, but I ended up having to re-record the last segment standing a little farther from the mic.) First a snippet of Body and Soul, then a few bars of a Brecker tune that I can never remember the name of, then Night Train, then the horn break from Sir Duke.
I don’t see myself as a guy who gets snobby about brands, but D’Addario’s pro-line mouthpieces have hit the mark for me 100% so far. Looking forward to what’s next.
A little over a year ago I made the Random Note Picker, a small web app for generating groups of random pitches. I mostly use it to quiz students on their scales. It otherwise hasn’t gotten much use, but if anyone is interested there is now a slightly improved version. Check it out.
I’m pleased to share videos from my recent Delta State University faculty recital. I performed for a reduced in-person audience due to COVID-19 precautions.
All the repertoire involves electronics of some kind: prerecorded tracks, a looper, an actual electronic instrument (the Akai EWI), and/or live signal processing. This was my first time doing something so electronics-intensive, and I was learning to use some new equipment, so I’m including here some videos from the live recital and some from a dress rehearsal depending on audio quality, etc. (You will still notice some distortion and other issues, which I’m learning from and hoping to improve in future performances.)
The following is a summary of lessons learned from observing rehearsals of jazz big bands. A great debt is owed here to Dr. Ray Smith of Brigham Young University, director of the Synthesis big band.
A picture is worth a thousand words
The student jazz group should be exposed to recordings (or, when possible, live performances), especially of the arrangements they are learning. This benefits the band in several ways:
First, the band members further absorb general concepts, such as swing feel, sense of time, and concept of tone, as well as bits of jazz “vocabulary” (melodic, harmonic, and rhythmic ideas, for example). These concepts, no matter how clearly explained, can only really be learned by listening and imitating—like learning the correct accent for a foreign language. Read More “Ideas for directing student jazz bands”
This year was my first time attending the National Flute Association‘s annual convention, held this year in Charlotte, North Carolina.
I’ve been to conferences of all the other major woodwind organizations in the US (IDRS, ICA, NASA), and here are some things that I think the NFA did exceptionally well:
Organization and planning. From what I could tell, nearly everything ran smoothly and according to plan.
Engaging younger players. There were a number of competitions and masterclasses for high school and college students, and a Saturday “Youth Day” for flutists aged 8-13.
Engaging non-professional flutists. My sense is that the NFA has a stronger amateur contingent than the other organizations, and that they are working to ensure its future.
Appealing to broad musical interests. In my opinion, the NFA is doing a better job than anyone, including NASA, of integrating jazz into their convention in a serious way, and is integrating historical instruments at least as well as the IDRS. Ethnic flutes also got some good representation. Thursday night’s big feature concert was Baroque flute, and Friday’s was world music. Saturday’s concert was more standard concerto fare, but with a strong jazz representation. Kudos to the NFA for acknowledging that there is life beyond conservatory repertoire lists, and to its members for seeming to genuinely embrace and enjoy the varied offerings.
Like the other major woodwind conferences, the NFA’s is packed with so many events that it’s impossible to get to everything you want to attend. Here are a few personal favorites among the things I saw and heard (in no particular order): Read More “Report: National Flute Association Convention 2011”
Woodwind doubler and jazz great James Moody passed away today. James Moody was known for his saxophone (especially tenor) and flute playing. You can read the obituary from the San Diego Union-Tribune, but, if you’re like me, you might rather just watch this. I love the weirdly humorous but deeply respectful intro by none other than Dizzy Gillespie.
This year was my first time attending the