[78-L] Tenor Sax Styles.
Dan Van Landingham
danvanlandingham at yahoo.com
Thu Jan 7 21:14:04 PST 2010
I had an album of Lucky Thompson on the Downbeat label.It was a 78 rpm set.The only
tune I recall from it was called "Commercial Eyes".I think I still have it around here some
place.
--- On Thu, 1/7/10, Taylor Bowie <bowiebks at isomedia.com> wrote:
From: Taylor Bowie <bowiebks at isomedia.com>
Subject: Re: [78-L] Tenor Sax Styles.
To: "78-L Mail List" <78-l at klickitat.78online.com>
Date: Thursday, January 7, 2010, 11:06 PM
Hey Dan,
I love both Bob Carroll and Dick Wilson...Wilson was from Seattle, and was
long-remembered around here by old-time musicians.
The late and remarkable Lucky Thompson died here in Seattle a few years
ago...he had become quite reclusive and was almost a street person...very
sad. His work with the Oscar Pettiford big band on ABC-Paramount in '56-'57
is magnificent.
I also like Allen Eagar's work, esp. with Navarro.
I know this has gotten way off Julian's original post, but it feels good to
have a forum where guys like Carroll, Wilson, Thompson, Eagar, etc. can
still receive praise.
Taylor
----- Original Message -----
From: "Dan Van Landingham" <danvanlandingham at yahoo.com>
To: "78-L Mail List" <78-l at klickitat.78online.com>
Sent: Thursday, January 07, 2010 7:57 PM
Subject: Re: [78-L] Tenor Sax Styles.
I taught myself to play tenor sax back in late 1969 as a junior in high
school.I used Hawkins as my role model as well as listening to the likes of
Don Byas,Webster as
well as a few now forgotten players such as Dick Wilson of Andy Kirk's band
and Bob
Carroll who played tenor for Don Redman in the thirties.One tenor player I
can't really
classify was Chu Berry,whose tone struck me as being somewhere between
Hawkins
and Lester Young whose tone I could never duplicate even though I tried to
do so.I still
prefer Hawkins and his school over the some of the later tenorists I also
heard from the
late thirties.I heard Georgie Auld by way of a handful of Bunny Berigan
recordings but he
was never a favourite of mine.Charlie Barnet I got a kick out of but I
admired his arrangers
even more so.Whatever respect Flip Phillips had was lost after that infamous
solo he took
on "Perdido" with the JATP in the late forties.The sound Hawkins had by 1950
left me so-
mewhat befuddled:was he losing his lung power by then or was he just
changing his tone
to accomodate the newer jazz fans?I cite his recordings from 1950 on Roost
as examples.
--- On Thu, 1/7/10, Julian Vein <julianvein at blueyonder.co.uk> wrote:
From: Julian Vein <julianvein at blueyonder.co.uk>
Subject: Re: [78-L] Tenor Sax Styles.
To: "78-L Mail List" <78-l at klickitat.78online.com>
Date: Thursday, January 7, 2010, 4:03 AM
Spats wrote:
> Hi!
>
> The main thing about pre-war tenor-payers...indeed, sax-players in
> general, is that they had what I call a 'fat' sound.
>
> Lester Young started the journey toward a leaner sound which ended
> with Coltrane and his imitators.
>
> I, however, have always preferred that fat sound...Ben Webster...with
> that big warm centre cushion surrounded around by a little air,
> Coleman Hawkins and HIS big sound and all the people who tried to
> play like them.
>
> That's what I, at any rate, think of when I think of a 'big band' tenor
> player.
>
> You know, it probably all began with a BASS sax player, that OTHER
> Rollini called Adrian!
>
> Earl.
--------------------
Earl,
I agree about Adrian Rollini, he seems to have been the first to bring
dignity to saxophone playing. I'm still stuck for describing the various
styles though.
My interpretation of "big band tenors" doesn't include Hawk or Webster,
although they did, of course, play in big bands. Perhaps it should be
"swing band tenors", e.g. Vido Musso, Don Lodice, Georgie Auld, Ed
Clausen, Charlie Barnet and Tony Zimmers. I don't include Bud Freeman,
Eddie Miller or Babe Russin because they appear not have subsumed their
style to fit into their swing band environments.
Again, my question was not about personal favourite players or styles.
Julian Vein
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