Phrasing For Saxophone

June 10, 2018





Jazz Sax Lessons

November 2, 2017



Published on Apr 23, 2014

Charles Koechlin
15 Etudes for Saxophone & Piano, Op. 188 (1943)

Federico Mondelci, alto saxophone
Kathryn Stott, piano

I. Pour les traits rapides (0:12)
II. Pour les sons lies et le charme de la sonorite (1:39)
III. Pour les arpeges (5:17)
IV. Pour la douceur des attaques (7:10)
V. Pour le charme du son dans un mouvement vif (9:59)
VI. Pour le style soutenu et doux en sons lies (12:22)
VII. Pour les sons lies et le charme de la sonorite (15:27)
VIII. Pour les notes en staccato et le melange de legato et staccato (19:16)
IX. Pour la longeur de la respiration et l’egalite du son (22:50)
X. Pour la qualite du son dans un style soutenu et pour les nuances (25:12)
XI. Pour la solidite du rythme (28:08)
XII. Pour l’egalite du son et pour les nuances (29:11)
XIII. Pour la legerete du son (36:08)
XIV. Pour une sonorite soutenue et expressive, pour la douceur du grave et de l’aigue (38:27)
XV. Pour les accents qui doivent donner le rythme de la phrase (41:20)

These compositions and performances are equally a welcome addition to an existing music library and superb introduction to classical saxophone music.

Charles Koechlin (1867-1950) was a French composer of myriad styles of composition (solo instrumental, sonata, smaller ensembles, symphonies, orchestrations of other composer’s music, …) and the author of seminal works on harmony, counterpoint, and orchestration. Incredibly, most of his music wasn’t even published during his lifetime!

The 15 Etudes for Saxophone and Piano were written in 1942-3. They are much more than “etudes” (often, music written to increasingly challenge the player – wind, string, piano pieces demanding difficult fingering, intonation, dynamics, phrasing, etc.). These pieces do, of course, require masterful technique – but the “etude” Koechlin is offering (as per his playing instructions for each study) is “smooth joining of notes”, “enchanting tone”, “lightness of tone”, …

I have heard other performances of Koechlin’s Etudes (no names …) that I thought were wonderful – until I heard Federico Mondelci. To be fair, I still enjoy the other performances (even created some YouTube videos juxtaposing 3 different musicians), but Mr. Mondelci’s is, I think, the most fully realized. The others (perhaps because of their “school” of playing) play the pieces in a monotone style, lacking the dynamics, expressive tonality, and phrasing of Mr. Mondelci’s performance.

Charles Koechlin wrote the Etudes for Saxophone and PIANO, and here’s where Kathryn Stott’s contribution is magnificent – unlike the other pianists (again, no names …), her performance is clear and standalone – the ensemble playing of Mr. Mondelci and Ms. Stott gives us the piece of music that Charles Koechlin wrote.

Jazz musicians and fans should also give this a listening to … after all, Charlie Parker was often seen carrying Bartok recordings, and clearly, many jazz pianists are familiar with Satie.

Saxophone – Blues Solos

January 30, 2016




Saxophone – Blues Scales

January 30, 2016



les perseguides

A1. Lonnie’s Lament 0:00
A2. Naima 10:16
A3. Chasin’ the Trane 18:20
A4. My Favorite Things 24:10

B1. Afro Blue 45:20
B2. Cousin Mary 53:03
B3. I want to talk about you 01:03:00
B4. Spiritual 01:11:19
B5. Impressions 01:23:48

John Coltrane — tenor saxophone, soprano saxophone
McCoy Tyner — piano
Jimmy Garrison — double bass
Elvin Jones — drums

Miguel Tuna

Recorda-me (Joe Henderson tune, found on “Page One”)

Recorded at NYC Town Hall in February 22, 1985

Herbie Hancock – Piano
Ron Carter – Bass
Tony Williams – Drums
Joe Henderson – Tenor Saxophone
Freddie Hubbard – Flugelhorn and Trumpet
Bobby Hutcherson – Vibraphone

Kenny McCabe

“Double Rainbow: The Music of Antonio Carlos Jobim is a 1995 album by jazz saxophonist Joe Henderson, released on Verve Records. It contains Henderson’s rearrangement of music by Brazilian composer Antonio Carlos Jobim.[2]

The album was originally intended to be a collaboration between Henderson and Jobim, but the plan was changed following Jobim’s death.[2]

Like his previous two albums for Verve Records, Double Rainbow received excellent reviews and relatively good sales for a jazz album in 1995. Reviewer Scott Yanow called the album “very accessible yet unpredictable”.[2] The Penguin Guide to Jazz on CD awarded the album three stars and described it as “essentially high-calibre light-jazz”.[3]”

Joe Henderson – tenor saxophone
Eliane Elias – piano (tracks 1-4)
Herbie Hancock – piano (tracks 6-11)
Oscar Castro-Neves – guitar (tracks 1, 2, 5)
Nico Assumpção – bass (tracks 1-4)
Christian McBride – bass (tracks 6-12)
Paulo Braga – drums (tracks 1-4)
Jack DeJohnette – drums (tracks 6-7, 9, 11)

Art Pepper So In Love

April 21, 2015


Bass – Charlie Haden
Drums – Billy Higgins
Piano – George Cables
Saxophone – Art Pepper
Recorded 5-26-79, Burbank, CA

Playing the Blues

March 17, 2015

Walter Beasley Sax Lessons