I'm excited to share a new collaborative album that some great musicians from Rochester, NY put together. I contributed a couple compositions (Life Pass and Striving), and I'm playing tenor throughout. For now it's a digital release, but physical copies will be available soon.
Last summer I visited Tenor Madness, one of the main vintage sax shops out there. I played some pristine Mark VIs, a couple relacquered SBAs, and a bunch of other vintage and modern horns. I also played their horn, the TM Custom. I really liked it, but it had rolled tone holes, which typically gives a horn a more spread sound than I'm used to. As a reference point, Selmer horns, like VIs and SBAs, have straight tone holes while Conn 10Ms have rolled tone holes.
I had sold my VI and been on the hunt for an SBA that I could afford. I ended up getting a relacquered SBA from another shop, but after a few days I realized that the sound really thinned out when I pushed it hard, and so I sent it back. My next try was a Selmer Series III, which had ended up being a little too dark sounding and too resistant for me, so I kept looking. While at the JEN conference in Dallas I ran into a buddy, Jeff Pifher, a very good player, who let me play his pristine original SBA (the horn in the linked video). That was an eye opener. It was a great horn, but it wasn't the perfect horn I thought it would be.
In the meantime Tenor Madness had come out with a straight tone hole horn. I went ahead and bought one, and I've had it for about a month now. It's a fantastic horn, and I'll be writing a detailed review with a video in the near future when things are a bit quieter for me.
I'm also excited for two recording projects that are coming to fruition. A collaborative project, R.O.C. jazz collective, I'm part of will be releasing a EP very soon, and my new record, with a bunch of original tunes, will be out sometime this summer. Lots of exciting things all around.
Lastly, I don't know that I've really said it here on the blog, but I'm teaching jazz and woodwinds now at College of Southern Idaho in Twin Falls, so anyone out here in the northern mid-west that wants to play, hang, or take a lesson, please let me know!
I'm super excited to announce a new collaborative recording by myself and some great musicians from Rochester, NY (Sterling Cozza, Oliver Haynes, Stephen Morris, and Jakob Ebers). This is "Light On The Other Side," composed by Sterling. The full EP will be out in the next couple weeks, featuring compositions by myself, Sterling, and Oliver.
I've been interested in working on quarter tones for a few years now ever since playing with Colin Gordon while we were at Eastman together. When the situation called for it, he'd play these nasty quarter tones lines, and it sounded really great. I've been working on them myself using a new book by Brandon Dixon called Quarter Tone Technique for Saxophone. The book is primarily written from the context of classical saxophone repertoire. However, the technique is universal, and the book is proving to be a fantastic tool.
Pitch and Tone!
For a lot of musicians quarter tones are pretty far out there, and many may not feel musically compelled to tackle them. One of my initial reasons for wanting to shed them was to work on my ear for intonation. As I've practiced quarter tones my ears have definitely opened up. I listen more minutely for pitch, and the sound of a quarter step becomes more and more distinct as I improve.
One thing that came as a complete surprise was the idea that practicing quarter tones makes for a great tone exercise. The book hints at this when it suggests that students have already worked on overtones and altissimo and specifies that overtone technique is vital to playing quarter tones well. As I practiced quarter tones the first time, it quickly became apparent that they required some hefty voicing (subtle tongue position, vocal chord positioning, and other muscle movements that focus the oral cavity), and after a practice session my voicing was more fully engaged, my tone was more alive, and the horn felt easier to play, similar to the result of practicing overtones. It also appears that playing quarter tones uses voicing muscles in different variations than overtones making for new possibilities and fresh practice.
Fingerings, Exercises, etc.
In terms of layout, the book is easy to use. It introduces one quarter tone at a time, giving a number of fingering possibilities and a short set of exercises to cement its sound in your ears and fingering in your muscle memory. The first exercise is typically a linear quarter tone passage. The five exercises that follow use the new quarter tone in various ways, and I find them musical and interesting.
Following the section of quarter tones fingerings and exercises comes a small section with exercises to help you improve your ear and tone production including octave jumps and small intervals within the whole step (quarter tone, half step, 3/4 step). I'm looking forward to tackling these, as I've already sensed an improvement in my ears just working on the quarter tones by themselves.
The next sections consist of scales and chords derived using quarter tones. The chords can be pretty difficult to hear, as they often defy tonal expectations. Next comes a set of etudes that draw on quarter tones. Most of them are based on classical compositional ideas, though one is written in a blues style. Similar to my comment about the chords, these etudes can be difficult to hear as they aren't hinged in tonality or even the normal twelve tones. For some they will prove to be too far out. Really, jazz saxophonists will want to go check out Brecker's and Coltrane's interesting use of alternate fingerings that sometimes sound like quarter tones and Steve Lehman's more intentional use of quarter tones to get an idea of what kind of jazz vocabulary already exists out there in quarter tone land. Lastly, the book also offers a short guide for composing with quarter tones for saxophone, which could be helpful no matter the style.
Brandon has also made some other useful resources available on his website. These include recordings of each of the etudes, an online quarter tone tuner, a quarter tone transposition tool, and a list of classical saxophone repertoire that uses quarter tones.
If you're looking to learn to play quarter tones, this book a great resource for that. It’s also a less explored method for honing your ears, and it has unintentionally proven to be an interesting way to develop tone and voicing technique, which for anyone who has worked overtones ad nauseum, may come as a welcome surprise.