jazz

Review: D’Addario Select Jazz tenor saxophone mouthpieces

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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.

Review: D’Addario Select Jazz alto saxophone mouthpieces

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I like mouthpieces that are easy to play, especially in terms of response and tuning. But I also really like something easy to replace; I don’t like the idea of a mouthpiece that is so expensive, variable, or rare that if I drop it I can’t just order a new one, have it in a … Read more

Jazz swing notation

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The issue with each of these bad notational approaches is that they try to approximate characteristic jazz rhythms with symbols that are rooted in the rather different rhythms of classical music. But real jazz swing rhythms aren’t dotted or 12/8 or triplets, or least they aren’t necessarily any of those. This leads to problems both for composers and performers.

Improvisation and doubling

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If you double on multiple instruments, the improvisational vocabulary pool isn’t really portable. You can bring your ideas with you from instrument to instrument, but you won’t be able to execute them smoothly unless you have put in the practice hours on each instrument separately.

Creativity, hard work, and beginning jazz improvisation

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I occasionally teach a university course in jazz improvisation, geared toward beginning improvisers. Sometimes I think prospective students are afraid to sign up because they don’t consider themselves already to be musically creative. On the other hand, I have some students enroll in the class with unrealistic expectations about the results, thinking that they will … Read more

Farewell: Yusef Lateef

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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: https://www.youtube.com/watch?v=d4Wqd-b0FRM I’ve seen oboists look a bit uncomfortable when the topic of Yusef … Read more

Farewell: Frank Wess

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Last week Frank Wess, one of the great woodwind doublers in jazz, passed away at age 91. He was best known for his years with the Count Basie band, and for being an influential figure in bringing the flute into its own as a jazz instrument. If you’re not familiar with his playing, definitely check … Read more

Things that aren’t jazz

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Photo, frawemedia

Okay, first of all: what I’m talking about here is the “mainstream” jazz tradition, insofar as such a thing exists (you can make a good argument that it doesn’t, really). “Jazz” is a wide net to cast. To flip it around, if I were going to list things that aren’t “classical” music, I might say “use of the electric bass guitar” or even “microtonality.” Are those things really mutually exclusive with classical music? No. But they are not part of the tradition of the Viennese masters, not what your local community orchestra would play, not what most people think of when they think of classical music.

One misconception that many classical musicians seem to have about jazz is that since it has strong improvisatory elements, it must be very free and unstructured. I think the opposite is true: improvisation, at least in the mainstream-bebop/hard-bop-influenced style, requires fairly strict structural underpinnings. None of the following works well when someone is trying to improvise:

  • Free forms. Form in jazz is much stricter than in classical music. Most common jazz tunes have one of two forms. The first is precisely 32 bars in 4/4 time, with four eight-bar sections: AABA. The second is precisely twelve 4/4 bars, a “blues” form. Anything that doesn’t fit exactly into one of these categories is most likely very closely related to one of them.
  • Free harmony. Bebop and hard-bop jazz are extremely tonal. While improvisers may play pitches that fall “outside” the chords, it is almost always within a tonal framework: the notes function as upper extensions of the chords, or at least they are used in a sort of polychordal way that has reference to the underlying harmony and will ultimately resolve back to it. The idea that “there are no wrong notes” isn’t exactly true; notes can definitely sound very wrong if they aren’t properly contextualized with regard to the harmony.
  • Free or changing meter. Jazz makes frequent use of polymeter and syncopation, which can give the impression of shifting meter, but most jazz doesn’t actually change meters, especially in improvisatory sections. The polyrhythms and syncopations work because they are overlaid on an unchanging metric pulse, and resolve to it.
  • Rubato. Tempi also tend to quite strict in jazz playing. A musician might “lay back” in the beat or stretch a rhythm, but the underlying pulse doesn’t change. (In my experience, jazz players generally have much steadier internal metronomes than classical musicians.)
The freedom that improvisers do have is to create melodies over these fairly rigid structures. The rigidity gives the improviser a predictable framework to work with (or perhaps against). At a more detailed level, there are certain melodic characteristics that classical musicians tend to associate with jazz, that I don’t hear when I listen to jazz or play with fine jazz musicians:

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Which instrument should I learn next?

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Photo, Jon Delorey

One of the questions I get most frequently from aspiring woodwind doublers is “Which instrument should I learn next?”

The short answer is “Whichever you want.” Woodwind doublers’ motivations (career, artistic, or personal) are varied, and your interests and goals should override any advice I (or anyone) can offer. If you really want to learn to play a certain instrument, then no need to read further—that’s the one you should tackle next. And if you don’t feel motivated about a certain instrument, then your chances of success aren’t good.

But many of the doublers I hear from have designs on picking up several instruments over the long term, and are just looking for advice to maximize some aspect of their current careers:

Employability

If your goal is to get as many doubling gigs as possible, then there are some relatively common combinations of instruments that are used for musical theater, jazz big bands, and other commercial-type live-performance situations. (If you play another combination, then there are probably still opportunities out there if you find them or make them yourself.) Some of the common ones are:

  • Flute, clarinet, and saxophone. For jazz situations, you need good saxophone chops coupled with a good grasp of jazz style and possibly improvisation. If doubling is required, it will almost always be C flute, B-flat clarinet, or both, and often the bar isn’t terribly high on these. For theater, you will find that the weighting depends on the show and the book; often the Reed 1 and Reed 2 books both call for flute, clarinet, and saxophone, but Reed 1 might have the lead flute parts and solos, and Reed 2 is the lead/solo clarinet part. If it’s a jazz-heavy musical, then either part might call for orchestral-type soloing on flute or clarinet, plus demand convincing lead alto saxophone playing. Theater books are also likely to call for doubling on “secondary” instruments like piccolo, E-flat clarinet, and soprano saxophone.
  • Low reeds. In a jazz big band, this means primarily baritone saxophone with some bass clarinet (and occasionally B-flat clarinet and/or flute). For theater, a more “classical” show will likely be bassoon-heavy, with bass clarinet and baritone saxophone doubles; a jazzy show will lean toward baritone saxophone and bass clarinet with less (or no) bassoon. Bass saxophone and contrabass clarinets occasionally appear as well; most smart arrangers will provide ossia lines to enable covering these on more standard instruments.
  • Oboe specialist. This surprising combination shows up in many musicals: oboe, sometimes with English horn, plus B-flat clarinet and tenor saxophone. Generally the oboe and English horn parts call for a soloist-level player, with little more than inner harmonies on the single reed instruments.

Jazz chord symbols: a primer for the classically-trained

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Printed jazz music often uses chord symbols to indicate the music’s underlying harmony. As with the Roman numeral system used in classical music theory, jazz chord symbols may be used as a tool for analysis. But they are also used for performance, like Baroque figured bass notation, with the musicians using the symbols as a framework for improvising melodies and/or accompaniments. In jazz, the symbols are  generally non-specific with respect to inversion, and players of chord-capable instruments (such as piano or guitar) in jazz are accustomed to making independent choices about inversion and voicing. Depending on the situation, printed jazz music may include written notes only, or notes plus chord symbols, or even chord symbols alone.

Simple major triads aren’t common in most “modern” (post-1940) jazz. But in the rare cases that they do appear, they are indicated with a single note name:

jazz chord symbol: simple triad
C major

The letter “C” above the staff is the chord symbol. The notes shown on the staff here are the corresponding pitch classes, stacked in root position in the thirds familiar to students of classical theory, though a jazz musician, composer, or arranger would rarely voice a chord in this way.

Almost always, there should some variety of seventh specified, using the numeral 7 (and when it isn’t specified, it is often implied). By convention, using the 7 alone with a note name indicates the lowered seventh:

jazz chord symbol: seventh
C seventh

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