Improvisation Basics 5: The Right Notes At The Right Time

I routinely review Sax on the Web older contents checking out link changes and other things which may have changed over time. It was my pleasure to rediscover Andew Campbell's article "The Right Notes At The Right Time" from 2007. Previously we took a look of Teaching Improvisation to Adult students, Blues Chord Progressions and Blues Scales.

Why do solos based on Blues scales sometimes sound great, but other times sound terrible?

It’s all about playing “Blues Notes” at the right time and in the right place.

Andy uses the great Eddie “Cleanhead” Vinson’s solo on “Kidney Stew” as a practical example so, that we can learn a simple and workable method to accomplish the same feat in our own solos.

Although the blues scale, or any scale for that matter, might fit a certain chord or progression, you also have to know when and where to play those notes.

Most of us eventually work this out through a lot of trial and error and lots of listening, but it doesn’t have to be that hard.

Let's look at the melody (head) first:

Then Andy is laying out the theory background for creating a solo.

Enter Mr. Eddie “Cleanhead” Vinson with his solo:

Andy goes on analyzing Vinson's solo piece by piece very masterfully. If this is something you want learn more, take a look of the entire article.

Andrew Campbell lives in Sydney Australia, where he plays and teaches. He has been a regular SOTW Forum contributor, under the alias of "Dog Pants", since 2001. Andrew hopes that this lesson will encourage other players to explore both Eddie Vinson and the many other great Blues Sax players.

Air Saxophone playing

Air Sax

What guy doesn’t dream of rocking out on a saxophone?

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Tipitina's, Tall Ships and Horses in the Lobby

"The Crossroads. That decision every musician must make.

It came while sitting in a ramshackle tour bus, squeezed in between the great drummer Jack Pedlar and a 300 pound entertainer..."

Part Two Interview Sonny Del-Rio by Neil Sharpe

You moved so gracefully across that smoky room,

You thought those saxophones were playing just for you,

We danced a fantasy in syncopated time,

This must be love, I felt that magic when your lips

Met mine.

“Say You Will”  
(Sonny Del-Rio from the album “40 Years of Rock n’ Roll”)

We got a red-hot band,

We’re gonna rock your blues away.

Sonny Del-Rio
Welcome To Saxland

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Check out Evan Tate Interview

Title: Evan Tate Interview

Link: http://www.saxstation.com/evan-tate-interview.htm

Ride The Wild Wind - Sonny Del-Rio Interview

Deep gutted. Full chromed. Slammed to the floor.
Supercharged Merc’. Bustin’ for more.
Blue smoke trailing,
Stars tumbling out of the sky,
My wild-eyed passenger screaming,
'I don't wanna die!'

Two weeks under lock and key,
‘Compulsive. Unpredictable’.
That’s what they’d laid on me.
But… a lucky break- an open window, a quick phone call.
Grab the sax. Bail out the car.
Look out Marco's Club, here I come.

People soon will be yelling:
'More! More! More!’'
As my sax gets them jumpin’
across a jammed dance floor.

Turn to my buddy:
‘I'm not trying to kill you, man!
Just getting you ready for some
ROCK N’ ROLL!'

~ Neil Sharpe

Rock n' Roll. Straddling the rhythm-and-blues-powered-engine of change. The music that saved a generation. And not a moment too soon.
Which isn't to say, it went easy…

If I was sick, rock was my medicine. If I was lonely, it was my friend. If I was down, it was my inspiration. It was pure joy, a blessing and…sometimes a curse...

Neil Sharpe's (left) Interview of Rock n’Roll saxophonist Sonny Del-Rio, Part One now available.

‘Let The Good Times Roll’ from Sonny’s album “Two Hound Blues”:

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Color your Saxophone

Once you master your instrument, it is time to get it hand-painted. Look for various designs.

Some other ideas:

Have fun,

Q & A #4: Saxophone reed strength

Donald wrote:


 I have been playing the Soprano for a number of years. I have always used the #3 or #3½ reed. (I have played Alto, Tenor and Bari at times too.) There was a guy at our church recently and he was playing the Soprano (Jupiter) using a #2 reed. I tried a #2 a couple of weeks ago and that's my reed from now on.

Harri answered:
Dear Donald:
once again these are not very straightforward questions (nor answers). I know some players who think that it is a "manly thing" to play a #4 or #5 reed. And then they keep struggling.

Besides the embouchure of the player, much depends upon the particular characteristics of your mouthpiece such as size of tip opening, design of the chamber and baffle, and the facing curve.

Playing saxophone should not be a distress, but rather an enjoyment. I have been playing #2 - 2½ reeds on my soprano, alto, tenor and baritone, and I am pleased myself with the results.

Did anyone comment your tone after you switched from #3½ reed to #2?

Good luck,

More here....

The reed picture has been released into the public domain

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I love Lucy (and saxophone)

Don't we all?

When Lucy fails her saxophone audition for Ricky's band, she tries to stop him from going on the road by pretending there's another man in her life. Ricky gets back at her by hiring several "lovers," and hiding them in Lucy's closet. But Lucy gets the last laugh in the end!

...more (Season 2, Episode 5 ) ...

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Folk Music, Blues and good times in Sastamala

Hotel Ellivuori was the venue for the 23rd Annual Suzuki music camp organized by the Finnish Suzuki Association in the town of Sastamala (before known as Vammala).

The Suzuki approach was developed in Japan by Dr. Shinichi Suzuki in the mid 20th Century. He believed that every child, if properly taught, was capable of a high level of musical achievement. His philosophy was that if every child has the inborn ability to learn their native language, then they also have the ability to learn and become proficient on a musical instrument. Begin children early and excite their own inborn joy of music, or the mother tongue approach.

In Sastamala were about one hundred young players with their parents and teachers representing violin, cello, flute and vocal as instruments.  (In the picture Ida Rautiainen, flute and teacher Marttiina Ahlström.)The week (June 28 – July 3, 2009) was packed with individual lessons, group practice and ensemble work. Also, a chance to enjoy outside activities and swimming in the pool or in the lake. The weather was warm and sunny the whole week.

Some special highlights:

On Wednesday night was a traditional Teachers’ Concert in the medieval Sastamala Church. The program consisted of fine performances by the Chamber Orchestra, flute, violin, guitar and singing. There was also Mauno Järvelä’s (left in picture) Folk Music Ensemble:

Thursday evening concert consisted of some traditional events and some new and perhaps surprising parts.  Marjukka, the camp Director, asked me to introduce the saxophone which does not belong to the family Suzuki instruments. The sound of saxophone was not heard in these events earlier. I did it by playing the old swing tune “Jersey Bounce” by Myron C. Bradshaw, Edward Johnson and Bobby Plater. The comp section was Venla, double bass (in the picture) and Pilvi, organ. Thanks to these ladies, the trio was well received by the audience. I also assisted by playing in “Fathers’ Choir” which this time did not sing at all, but produced a very funny act with music and magic tricks.

The big hit was the huge folk music Orchestra directed and rehearsed by Mauno Järvelä and his violinist daughters. I played there also tenor saxophone and Ida sang and played flute. A huge hit with the audience was Mauno’s blues “Pääoma (Das Kapital)”. Ida’s favorite was “Ismon Grilli (Ismo’s Fast Food Diner)” with a catchy melody and fast tempo.

The camp was successfully concluded on Friday afternoon with the Grande Finale Concert where each instrument group performed several pieces.  Leena Mäkilä (above picture, right) was directing the advanced group of flautists. The larger group performed Telemann's Minuet and Suzuki’s Allegro.

Ida Rautiainen and her friend Anna-Liisa (right).


That was a joyous week, thanks to the teachers and organizers. The kids were amazing with their dedication to music and desire to learn more.

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Jim and Suzy in Helsinki

Helsinki, I missed Harri!

By Jim Glass

Late last night Harri, a Finn and the owner of the SOTW, pinged me on Facebook to see if we could have a breakfast or drinks tomorrow morning when we arrive in Helsinki. I let him know we might be able to make that happen, but didn't hear back. In the morning, for the first time since we started the cruise, all three of us overslept waking up after 10 AM!

So I quickly tried to get online to see what arrangements had been made, but the Internet connection was tenuous at best. An hour and twenty minutes later I found out Harri had been at a restaurant that was not to be at. Sigh, oh well we tried.

  

The first part of our tour was a visit to the great architect Saarinen (father of the famous American architect) country villa and study. Such an interesting space with so many architectural delights some of which I captured. Even if it is just doors, they are so nicely done.

 

And his art, drawings, and use of color was of interest.



Then we toured the city and headed back to the ship.

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Pictures courtesy of Jim Glass

---

The above trip report was filed by Jim Glass. He is former moderator and chief administrator of the Sax on the Web Forum. Jim lives with his wife Suzy in Seattle, Wash. and is an active saxophone player in several bands in the area. Also known as a saxophone collector.

Jerry Bergonzi at Acton Jazz Cafe

by Albert Lowe

Caught Jerry Bergonzi Last Wednesday (February 2009)

He definitely can play up a storm. I got both shows from 9 to 11:30.

But being only an attentive listener, and self educated at that, I can't say where he fits in the hierarchy of sax players.

He is good for sure, however the trio was just having fun for the night. My problem is that I am used to hearing the melody at the start of the piece then I have a chance to see/understand what they are doing. Bergonzi had a great time setting up his song but then for the most part only alluded to the melody. They had a great time especially with the endings. They seemed, to me, to be playing can you top this for the end riffs. At any ending they would run through and quote at least three different end riffs. Sort of like when soloists pass off to each other. One would start a classic end and move it around. Then the base, and one case the drummer Robert Kaufman, would take it to a different classic ending and they would change it again. That was the highest point of the evening for me, mentally retrieving the classic record that had that ending and seeing how they fit.

A good time was had by all. Bergonzi most certainly has the chops and showed them all in each bit. I.e. bop to classic swing style etc. I actually enjoyed his piano more. When he was on piano he wasn't able to cover the air with notes and I could follow his reasoning. The bop cascade in between the major notes of the melody etc was distracting to me especially when not having a clear idea of the base melody they were working on. Bergonzi did a very clever thing on one set. At the end of each burst of improvisation he came back to the melody and handed off to the base - but very last note out of place too high. At the end of the song the high notes became a new melody in the higher key. I almost fell off the bar stool.

The Acton Jazz Cafe either has made major improvements in their business management, acquired a sugar daddy, or won't last long. Because of changes in the fire code rules for night clubs the less than one hundred seat venue had to strip the old wall coverings off and replace them with fire proof sound absorption. They have almost turned it into a recording studio. Professional sound absorption on all the major flat surfaces, mikes all over the place and a good sound system. I'm willing to bet that the sound quality doesn't change much between having a crowd and being empty.  Bruce Gertz, the base player, placed his Zoom H2 sound recorder on the table nearest the group and seemed satisfied with the results.

At the peak, there were thirteen paying listeners including me. There was no cover and my selzer and twist of lime cost $2. If I was 45 years younger, and still unmarried, I would be there every night.

Bergonzi and his crew will be playing on Wednesdays for the near future. There should be an eight dollar cover charge but if the crowds don’t get bigger than thirteen it won’t be worth paying some one to collect it. The musicians got all the booze they wanted so they made out sort of. The Jazz Café  has them playing tomorrow Wed May fifth. So if I don’t get sidetracked, very likely, I will be there to get a better feel for his style etc., have a good time, and find out what setting Gertz uses on his H2 recorder.

-AWL-

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Jerry Bergonzi, Bruce Gertz, Robert Kaufman, Acton, Jazz Cafe, Albert Lowe

Carmen Leggio - Young Man With A Horn, RIP

Writes Fred Cicetti on Sax on the Web in 1999:

Carmen Leggio's been playing tenor sax for about six decades and it shows. His small frame is stooped over and his head is bent down a bit. The man was made to play music, so it's fitting that his body has conformed to his gift.

Leggio blows tenor the way Willie Mays ran down a flyball. They both let you know from the get-go that you'll never be able to do it their way.

"I have thousands of songs memorized," Leggio explains with childlike joy and not an eighth note of boasting. "I can hear a song once and know how to play it. In my whole life, I've never bought a piece of sheet music. Saved a lot of money."

Leggio (incredibly, it means "music stand" in Italian) taught himself how to play at the age of nine. He began on clarinet, imitating Artie Shaw on the radio. He still performs "Stardust," "Nightmare" and "Begin the Beguine" on an old King metal clarinet. At 14, he switched to tenor sax and began playing in clubs in his hometown of Tarrytown, a suburb just north of New York City.

"I quit high school, because I knew I was meant to be a musician," he said. "But my father was so angry that he didn't speak to me for years. On his deathbed, he admitted I was right to leave school."

That admission came after Leggio had played with Benny Goodman, Maynard Ferguson, Gene Krupa, Woody Herman, Buddy Rich, Dizzy Gillespie and Doc Severinson. There have also been television shows, movies, the Newport Jazz Festival, Birdland and, yes, Carnegie Hall.

On April 17, 2009, Carmen Leggio suffered a heart attack in front of his home in Tarrytown, NY and died later that day at the age of 81.

What a loss to the saxophone community and jazz.

Writes Tim Price in his blog now:

Carmen Leggio bristled with individuality, whether soaring over a legendary big band like Woody Herman or Maynard or cutting a new path through a standard song like " Smile" his ruggedly magisterial horn made a personal statement the jazz world will never forget.

This player, developed a way to express a wide and subtle range of emotions through a unique and highly evolved level of musicianship, that is never cluttered or forced. One of the masters of original melodic improvisation that melted in your heart like an emotional choclate ball. When he played a ballad you might think he's whispering the greatest story of un-requited love ever told,directly down your spinal column.

Back in the70's I bought the record " Tarrytown Tenor". I got in New York City at King Karol records. At the time, I was wondering why a player like this was not touring the world, recording more and playing every jazz club in NYC and Europe. I played that record everyday, playing along with it and studying the art of Mr. Leggio’s saxophone. I saw him at the Vanguard with That and Mel playing some of the best lead alto I ever heard- just amazing phrasing and soul.

He sure will be missed, and a loss to the world.

RIP Carmen, I'm sure Prez, Sal, Romano and Hawk are waiting in that jam session above for you.

Detroit Torino Jazz Project – Live Video Broadcast

Detroit Torino Jazz Project Live

in co-operation with Sax on the Web site

@ Dirty Dog Jazz Cafe
in Detroit area

Live Broadcast
Friday April 24 & Saturday April 25, 2009
6:00pm (18:00) EST

Featuring leading jazz musicians and photographic artists from Detroit, USA and Torino, Italy (AKA "THE DETROIT OF EUROPE").
Chris Collins (sax, picture right) and Emanuele Cisi (sax, picture left) will be joined by Cliff Monear (piano), Sean Dobbins (drums), and Nick Calandro (bass) in this live recording session.

Blowing your own horn

While browsing through the Sax on the Web Forum recently, I realized that many saxophonist members are also keen brass players. Here they proudly display their latest inventions:

Miraphone Double Belled Sax Shaped Trumpet (1950s?)

Martin Williams and his Double Belled Trumpet

Triple Belled Trombone

Double Belled (in series) with a muffler

I am assuming that the picture posters have rights to these pictures. By posting on the SOTW Forum the rights have been extended to the owner of SOTW.

Late addition: Is this a proper use of brass instruments?

This just in (Jul-18-2009):

 

Randy Emerick has joined the trombone section. Watch out, Kid Oreo!

Frozen Saxophone

Perhaps surprisingly Google’s search engine ranked this SOTW Forum thread as the highest of all Sax on the Web pages. “rs1sensen”, a long time SOTW member writes:

Yesterday I marched in some of the coldest weather I've ever had to deal with on a horn. Some of my pads were frozen shut. Others frozen open. A couple tone holes were almost sealed with ice, and there was some ice on the bottom of my horn. After the game, I carefully de-thawed the horn, dried everything off, and re-oiled my springs.
I tried to keep warm air going through the horn prior to playing, but it actually seemed to make things worse, as more and more ice would just form. I gave up on playing. What I did find interesting, is that about half of our section ran into the same problems, but the other half could play perfectly fine.
I have to give the dance team some credit, they did a performance before us and wore much less clothing than all of us!

Then there is follow-up discussion and helpful hints. Although the post is more than one year old, it seems to become current every winter.

Is Rock and Roll that harmful after all?

How Rock n' Roll is perceived by the general public has certainly changed over decades. I still remember my school science class in late fifties when were supposed to listen to a recording of bird sounds. A rascal slipped a record of Bill Haley's "Rock around the Clock" to the player instead. The poor female teacher was about to get a heart attack. The advent of Rock n'Roll served as a great weapon in hands of the younger generation to rebel against the parents and authorities. Some examples of rock related Censorship Incidents in the USA in 1950s.

How was jazz introduced to Finland? The legend has it that American-Finnish musicians brought it to Finland with M/S Andania arriving in Helsinki harbor 1926. The new musical genre was immediately anathematized by the clergy. Especially they viewed syncopation as an invention by the devil.

In today's view the rebelling young generation needs more powerful tools for aggravating elders. Heavy metal and Hard Rock has certainly taken that position, because the "classic" Rock n' Roll and performed e.g. by Elvis is really "lame". I have tried a few times my hand in Rock&Blues jam nights in Bar Mendocino and enjoyed myself a lot. My thanks go to Neil Sharpe for assembling and editing the Blues, R&B, Rock Saxophone teaching resource to Sax on the Web. I have learned a lot and Rock n' Roll did not hurt my soul.

Sax Site improvements

Sax on the Web Forum platform software update

The SOTW Forum was successfully upgraded from vBulletin 3.6.9 to version 3.8.1.

The new version contains bug fixes, but also significant new features over the old one. There is a possibility to add Facebook-like social groups and blogging to the forum. (Perhaps moving this blog there?) I will currently study their feasibility.

There are some SOTW-specific items which do not necessarily work on the new version, yet, but they will be addressed shortly.



Old SOTW Archive revived

Some of the forum messages from 1999-2003 were lost forever because of the service provider used then. What was salvaged is now found at: www.saxontheweb.net/SOTW_Archive/index.htm

I will brush up the appearance soon and fix some crossed links.