Great Altisimo players (examples please)

[Shaun SS]

Can you give me some of the great ones.. I think of John Handy of having great upper register control. Example would be "Hard Work"

[SoulMate]

James Carter, definitely.
In my opinion he is The truly master, not only regarding altissimo.

[Wailin']

Gerald Albright...listen to his live recording of "Georgia on my mind".
Nelson Rangell is also another altissimo master

[Bootman]

Also check out Bennie Wallace, a fantastic player.

[Bill Mecca]

Lenny Pickett.

[Giles]

Thanks Bill. I couldn't believe that ANYBODY was listed before Lenny in this thread.

[Merlin]

Check out John Edward Kelly playing the Ibert Concertino and Lenny Pickett with Tower of Power on the album Live and in Living Color playing "Knock Yourself Out".

IMHO, two of the defining moments in upper register saxophone playing.

[Bill Mecca]

Giles,

that's why I posted, I couldn't believe it myself.

[MojoBari]

Marc Russo.

[Troy]

I don't consider the highest the best. Rather, I'd say folks that can play into and out of alt. seamlessly are the true masters, because it makes the top tones useful musically...not just an effect.

So, with that, I'd put Ben Webster in, just for starters (and because he's my hero).

[Bootman]

Nick Brignola and Ronnie Cuber too.

[Bear]

Ron Holloway "Cobra"

Shaun is there something in particular you are looking for?

[Cameron Wigmore]

Joe Henderson had an original style and use of the altissimo range.


Joshua Redman has great chops up there.

[Andrew]

Michael Brecker
Brandon Fields
Norbert Statchel
Chris Potter


I tried to name some that weren't named yet...

[sinkdraiN]

MARC RUSSO!!!

...Rick Margitza has a great tone in the altissimo register

[tomsch]

Mark Turner is one guy who can make altissimo sound seamless. Check him out on Casino Lights.

[Gaijin-san]

definately Marc Russo and Lenny Pickett... definitely yes.
</RAINMAN>

[rollen]

George Young - his altissimo is unbelievable. He is so fluid.

[Tower of Power]

Lenny Pickett has great control over his and the range to go with it. He is awesome. Just watch SNL for examples and most TOP tunes.

Joe

I'd have to say Earl Bostic as one of my old favorites with Gerald Albright and Warren Hill as my new favorites.

[spaddy]

Has any body metioned David Sanborn? Michael Brecker in his funky stuff is amazing. :D

[shalant]

there seem to be several kinds of altissimmoers in jazz:

screamers (who use it as an effect to elicit feelings of catharsis)
pickers (who like to use the notes as often as they are capable)
virtuosos (who are aliens because i can't imagine some of their feats)

i must say that mark turner simply boggles the mind. also, check out eddie harris. i have a recording where he plays a child is born, a slow ballad, and in his final "cadenza" he plays a C5. i can maybe get to the G# below that, and i cannot even consider playing that high.

[LoVeTheBlues]

Eric Marienthal, David Sanborn, John Laughter, Me(I wish)

[Vortex]

I'm surprised nobody's mentioned Cannonball yet. Ever listen to his solo in "I'm On My Way"?

[stefan]

Chris Potter, definitely.
I heard him live a few months ago and it's incredible. After a time you even forget that these tones are called "altissimo", you start to accept them as normal parts of the saxophone range.

[JS]

Chris Potter, Mark Turner, Seamus Blake, Greg Tardy - for these guys, the altissimo is just another register to play lines in. For them, it's as if the octave key doesn't even exist. They all have beautiful tones up there as well.
Warne Marsh was playing lines in the altissimo register back in the early 50's!

[Rick]

For classical, Dale Underwood.

[LoVeTheBlues]

Josua Redman

[Venus Waltz]

Paquito D'Rivera (or is it DeRivera?) has a great sound up there.

[saxboy]

Chris Potter, Mark Turner, Seamus Blake, Greg Tardy - for these guys, the altissimo is just another register to play lines in. For them, it's as if the octave key doesn't even exist. They all have beautiful tones up there as well.
If you think about it...
C Flute players have an octave of altissimo that no one ever tells them is extra, hard, really high, for advanced players only, out of the range of the instrument, ect...
Bb Clarinet players have an extra octave too.
Why are sax players so prone to use these excuses when 2nd or 3rd year flutists are doing it without objection. Soprano is pretty limited, but Alto, Tenor (and even Bari)??
I thing the top register on Clarinet sucks. Sax is damn easy in comparison. Forget about a “really high” C on Piccolo.
SAXBOY

[MojoBari]

Part of the problem is that most saxes/mp/players find G3 a difficult barrier to cross. There is no equivalent barrier on clarinet or flute. Their 2nd to 3rd octave notes connect easier.

[Kevin]

Actually, altissimo on sax is much harder than the same register on clarinet. This is from a man who is equally good on both (world class good). I think the reason may be that the sax is a much bigger instrument and we are trying to control very small partials.

However it compares to other instruments, we just need to stop complaining about it and consider it a necessity, and then do it.

[Venus Waltz]

Definitely have to agree with Kevin, high altissimo on clarinet is way easier than on sax. For example, high school band music regularly goes into altissimo range on clarinet parts, but I've never seen it written on a sax part (in high school music, at least). It's probably easier on clarinet because the moutpiece and reed are smaller, and easier to control.

[saxboy]

I really think it is just misinformation. If young sax players are given upper notes to learn and not taught how hard it is... they do just fine.
You make my point with the example of High School players playing Clarinet up there.
I disagree with the reed size arguement. I can play to Bb on a good day with a great reed on Soprano. The little reed has that much less overtones available. If you look at the long strings on a Piano, it is easy to see how a full overtone series will be available and any number of fraction division of that primary string length.
On Alto I have an easy high D, Octave and sometimes a G-G# on a good day. Larger reed gives more overtone options.
On Tenor the first Octave is a breeze, a double C or higher is just control, and overall Tenor plays much easier than Alto for overtones. All of the screaming giants are Tenor players. I've played with all the Alto guys and they go maybe an octave and thats it.

Last Christmas I was head to head with Eric Marienthal at a show, he was on Alto and I was on Tenor (No desire to let him smoke me on his primary axe), and it was easy to play over him on Tenor because Tenor has a much larger overtone series.
I think Bari would go even further and higher than all the above but the design seems to limit the overtone series, making them sound covered and pretty out of tune with standard fingerings.
I think Clarinet upper register is "easier" because you start it early, are not told it is for really advanced players only, and know you are expected to play up there if you want to be on the first chair.
Just a thought...

SAXBOY

[DizzyMiles]

Hey Folks...

All great players mentioned here. However my personal fav. still has to be Chris Vadala. Goodness me , the man is from another planet.

Always amazing to hear him play, and his altissimo on Soprano is unbelievable.

[MojoBari]

Yeah, he really pops some on the Mangione "Live At The Hollywood Bowl" album.

[MS]

I think the altissimo on sax compared to flute and clarinet may have more to do with the shape of the bore: conical vs essentially straight tube. Ever hear a french horn player miscalculate notes when playing in the higher partials?

Some historical players left out
Sam Donahue, Ted Nash.

[Kevin]

Even the greatest "altissimo" saxophone players in the world cannot play as proficiently in that range as the average professional quality clarinetist. I think this says alot about which is easier.

[saxboy]

I would still have to disagree. There are guys that play as good up top as anywhere. John Philips is amazing. 20 years ago I first heard an Orange County Local playing in a Newport Beach club and this guy (Wayne Wayne, yes it is his real name) was playing bebop with amazing technique over an octave or two of altissimo.
Albert Wing is another LA guy that kills me.

I would agree that the number of sax guys pulling it off are few and far between, but I think it has to do with expectations of difficulty.

Remember the first guy who broke the 4 minute mile. How many guys started doing it right after him. All I'm saying is we need to stop hiding behind the impossible wall and raise the bar for all of our own good. 2 1/2 octave range sucks.

EWI is so cool with a real range.
I know people that play great 3 1/2 - 4 Octave ranges on sax.
I would love to see kids stop thinking it is way too hard and just go for it.

I played Bari tonight and started getting up to D better than ever before. I just went for it. It sounded great... well good; but I love just breaking the walls down.

It is a really big country. There are guys all over the place that kick this stuff silly. If I know 3 right here in LA, how many others can there be?

I am not trying to argue with you Kevin. I am trying to argue with myself in an open forum to break down the wall and run the 4 minute mile.

I want another Octave on Tenor and would never even try if I was sitting around saying it is way too hard to really use or thought it would just sound bad.

When I talked to Gerald Albright last, he said it was all about range now. He wanted to play higher and higher. He wanted to find out if there was really a limit. I love that...

I met a guy out at NAMM that was playing Tenor so damn high it was scary. Never heard of him before, but he was amazing. He had a good 2 ½ Octaves of scream and was getting around really well up there. I am still looking for his card because I want to see him again, maybe get a scream lesson.


SAXBOY

[singlereed]

There is a potted history of all sax technique and sounds including altissimo in Michael Brecker's solo playing in 'Naima' on his recent Hargrove/Hancock album. On the whole, I found this a tedious album but on that track, Brecker plays an amazing range of sounds and it is illustrative of the fact that so much is in the player rather than the equipment; many of us would think you need lots of different set-ups to achieve what he does.

[Morry]

I agree with the previous poster that Lenny Pickett has to be THE man, IMO. He doesn't just scream the notes out up there, he moves around in the altissimo like most of us do in the middle register.

[Kevin]

I agree with you Saxboy, that saxophonists just need to DO it without any excuses...altissimo should be taught much earlier than we do it now, but realistically and acoustically I just don't think it is easier than on clarinet. My prof is world class on both (and is a Rascher protoge, so he knows his hightones) and we have had this same discussion.

For one thing, the whole concept of the clarinet is based on venting, while most of the "normal" range of the sax is manipulated with the octave key. So there is a part of it that has to do with not being as familiar (and never will) as clarinets are. But again, the sax is a much larger instrument than the clarinet and controlling partials on an instrument with such a large bore, comparitively to the partials, requires a tremendous amount of control. Most good clarinetists can play in the altissimo range with the same facility as the rest of the clarinet...noone has done this on the saxophone yet. If we hear JEK play a fast passage in the altissimo, saxophonists will drop their jaws to the ground, but it is just another day at the office for a clarinetist.

[saxboy]

Kevin,
I will give you the overtone control issue being more complex on sax. Clarinet is a straight canonical bore with a different overtone structure seen in the register key as opposed to the octave key on sax created by a graduating bore design. It is also true that the more overtones available with a larger reed would also include more control needed to center on the desired note. I think Clarinet is odd partials only which limits the number of undesired partials you might end up on when attempting upper register playing.

The part that gets me is we don’t think it is normal or obtainable unless the player is Jesus Christ or a direct descendent. If I was handed a Clarinet part playing a line around and thru the top register, I would have to finger thru it and work it out. Same on Flute; and reading all those dang ledger lines too; how do they do it? I have a High School student that can read up there on her flute and get around better than I. I have to take a double look, finger thru it and then try it. All I’m saying is it is they same for sax.

I use lessons for Altissimo practice. I will have a student playing the Niehaus jazz etudes and when I play with them, it is all 8va. If I am sucking, I’ll laugh it off and get back down so I can be teaching too (The thing I am getting paid for then). Now it is much easier for me, being a sax player first, to play high reading the part in the staff.

If we look at that issue… The reason a High School kid can read all those ledger lines is because they have to. Sure it is hard, but they are expected to do it, period; forget about the fingering in that range and difficulty in getting those notes for many. The reason my student reads better up there is because she does it more. She knows it is harder but it means she has to work harder on it to get it. The peers in her world all say, “It can be done with practice.” The whole world says it is possible, figure it out.

Look at palm key playing for sax players. This girl is at a performing arts high school and had no idea which palm key played which really high note on sax; yet she was playing to A or Bb on Flute without thinking about it. She is a sax major. Why are we not teaching sax students what all the buttons do? Why are sax parts and sax music for that age so limited in range when flute music to that age is so much bigger?

Is it really harder? None of us can crawl outside our thinking far enough to really see, but I think it is more our learning style and low expectations.

I always tell students that if they blow 2 hours that week, they get 2 hours better. You get exactly what you give in return. I also break down maybe 60 things that have to be juggled to play sax well, drawing the picture of a floor to ceiling progress visual (like a fund raisers thermometer to see where they are at, or a 60 channel mixing console with faders going ground to ceiling for each technique.) The floor is brand new, beginner trying and the ceiling is as good as anyone can be.

Now with that picture…
I asked this student what was wrong with those palm keys. She said it was too high, sounded bad and did not work very well.
I gave her a summer to learn all the buttons and she did but thought they were harder then the 6 regular buttons with sharps and flats. I explained that she had been playing the 6 buttons for 2 years and hundreds of hours of time. That meant she had these notes moved to the middle of the wall so they were easier for her, but she needed to work harder at the buttons she was now learning to catch up those “sliders on the wall” and they would get just as good. When she realized it was just ‘2 hours of good’ on the palm keys versus ‘100 hours of good’ on the 6 buttons on the main tube everything changed. She is still behind in the overall, but she now owns all the main sax notes.

Now if we apply this to Altissimo, it is obvious that we won’t be able to play up there as well because we have done it for such a small amount of time in relationship to the rest of the sax. We then see it as really hard because we can’t do it very well in relation to the rest the horn.

If we learned a full range, at a beginners level of rhythm and difficulty, it would make the sax have a usable 2 ½ octaves. If we started playing into the next register, we would have a 20 year player with 17 years experience in Altissimo and not even be having this argument.

I started playing up there in 1977, a sophomore in High School. I sucked at first because it was totally new territory. I now have 25 years experience playing up there and it is not an issue because I worked for years to catch up on that range to match my proficiency on the rest of the sax. To be honest, it is still harder to do a Parker line up high because it is still 100’s of less hours of playing time over the past 32 years, but it is as good as the amount of time I have invested in that range just like the primary range.

Sax is one of the easiest instruments to get a sound on at first try. This would make Altissimo seem really hard in comparison. But the fact that it is so easy to play as a beginner should not cloud the issue of extending the range any more than other instruments.

Trombone is a giant slide whistle and guys can play lines on it. French horn starts of on overtones. It can’t even play a fundamental partial due to the design. They have fingerings that are totally relative because they are so high on the overtone series that by the middle of there range, any fingering can play any note. New Brass players and even Flute players can go weeks before getting any real note out of there instrument at all.

The fact that Altissimo Sax range is more like other instruments does not bother me; It challenges me. To catch up weaker playing areas to the level of the rest of our playing, we have to focus on that one area, for as many hours or years as it takes, to even it all out. I want 60 faders on the wall (skill topics) all at mid wall or higher. The things I do great are pretty high up there, and the areas that are weaker just need focus time in relationship to how good the other areas are.

Don’t get down on yourself for the week areas. It is just time in that area. I tell students this all the time. Don’t get all frustrated by difficulty doing palm key exercises. You don’t take it personal; you just try to get another hour of time invested on that topic so you can be an hour better. After a summer of hours adding up – blam – you own more sax.

Information is power. I want to empower all of us with the thought that sax has 4 octaves and is the coolest instrument of yet another Century.

Say goodnight Gracie,
Goodnight,

SAXBOY
www.gregvail.com/sys-tmpl/

[MS]

I agree that interest plus attitude can equal success. I have students as young as 7th grade that can do limited harmonic notes. Mostly because they're ;interested, and I can help them figure out what to do.

So I agree with both views. Kevin points out that clar and flute can acoustically set up logical vent fingerings that predict results in the 3rd register. I believe that resistance is more varied on the large conical bore that requires specific delicasy in response and control. I play both flute and clarinet. Air stream direction options make the flute more practical in the 3rd register (except for fingering system).

Sometimes kids don't know how difficult a thing is unless you tell them. I generally keep my mouth shut to a student who is interested in altissimo, help in a non demanding way and encourage sucess. 6th graders love multiphonics, especially the ones that can sound like a fog horn. Seems easier for them to get the hang of and produce than it was for me at about age 26 when I started them. Fortunately I've been fooling around with altissimo since late high school. Summer after high school I was presented with the Hartly Concerto to learn. Seems like I had to relearn the saxophone to get close to that piece.

There may be some cross-fertilization of wood wind doubling. The doublers I've studied with since the early 60's seemed undaunted in playing altissimo on saxophone. Difficult or not, they did it well and musically - with control. Perhaps they were just exceptional.

[Kevin]

Saxboy...what you say makes alot of sense. It should be noted that I talk of the difficulty of altissimo as an experienced player to other experienced players. That is not the strategy I would take when I teach beginners...you have a good game plan in that regard. If a student asks me why they should have to play up that high, I would tell them because the music says so...no more explaination is needed (you know what I mean).

I think I know why beginning and intermediate sax method books don't mention altissimo...but that is a whole different "school" of thought thing and not much reason to start another one of those types of debates. But I do hope that it changes and that the saxophone begins to be taken as seriously and formally as other instruments.

[saxboy]

Love this forum because thinking, good playing, solid people post here.

You-all are a treat to think out loud with!

SAXBOY

[Venus Waltz]

And yourself as well, saxboy. I guess I shouldn't have been so amazed when I discovered such a large, sax-loving community in one place... Here's a question; how much altissimo is too much? I'm thinking of a clarinet professor at Berklee college in particular, who I hope doesn't frequent this site...

[MS]

Venus Waltz - I'm not sure what you're asking. Both jazz and classical palayers are using this altissimo range. It's a fact of life for a young player. Historically, there have always been a few players around that could play fluently in the altissimo range (both classic and jazz). A youngster playing today will find musical expressiveness limited if they leave the altissimo range untouched.

There are some styles of music where the altissimo may be less important as a main ingredient, but an ocassional altissimo note or two can really help to extend a musical phrase idea to excitement in completion. Could be done a different way if altissimo is limited, but perhaps not as satisfying. Altissimo may be a psych barrier that need not exist to a creative player.

When altissimo is used, it doesn't need to cause the listener pain. I think the psych barrier is easier for younger players to cross.. Doesn't have to be used all the time, but nice to be in control when used. :D

[saxboy]

How much is really dictated by musical expression. How much below low D or anywhere else...
I think I use it on just about every solo because it is cool and because I am always working on it too.
Shaping solos implies use toward the end of the solo for basic shape and contour while crafting a solo, but you can use it as much as you want.
SAXBOY

[bigsaxy]

Saxboy, I sure wish I could buy some of your time. I've been playing for nearly 30 years, & can hold my own with everyone I've gigged with. But any decent college kid could probably dust me off with any altissimo at all. (but can they play in f# or C#?) Just kiddin'. I have become way too comfortable doing what I do, & marveling at Lenny Pickett & company & the seemingly effortless range they display. Even the much maligned Kenny G has effortless altissimo transitions. Whenever I try to figure out how to get up there, I can't stand the 5th grade sounds I make & let it go. You hit the nail on the head. If I didn't think it was that hard, or that it was verbotten, maybe I'd have learned how to do it 25 years ago. (my old band director was a trumpet player, bless his heart. But you should hear my brother play trumpet!) Maybe I'll lock myself in the garage & give it another go! Thanks for encouraging us, there is so much more that I NEED to make my horn say. When I finish freeing Iraq, I see a lot more practice time in my future.

Screamin' after Saddam,
Bigsaxy

[saxboy]

I think part of the issue is how easy it is to get a sound at first on the sax. We all got something out the first day. I had a Flute student that went a full 4 lessons and never got any sound out of even the head joint. Brass player deal with much the same. We did not have to go a month with NO SOUND AT ALL. We started with a bad sound and made it better pretty fast in relation to these other instruments!
It is really hard to take on something new when you are really good at something else. I have forgone Snow skiing because I wont get out there and suck at something new at this point in my life. It is very hard to totally suck on a part of the sax that your play great the rest the time. It is not rewarding and does not feed the ego in the least.
I have been working on Soprano Altissimo and extending the Tenor another 5th to 1 1/2 octaves because others are doing it. I have also begun new studies on overtones and multi-phonics this year.
Not very cool sounding and not something I do in front of others, but I am really trying to fight my ego enough to suck on a new area for me and own it in the near future.
Lock yourself in... kill some reeds, and start today before another 10 years go by.
I'm there as I think most of us are. We don't learn all the sax topic/areas at an even pace. Glad you are thinking about trying again. I use the forum to think out loud sometimes because I want to own more territory and blast to impress more each year.
As we all grow up, I believe it is our own inner voice that we most need to get with the program. I always say, "If you want it, put a picture on the wall." Basic Goals 101. If we start with how we think about it, expand our vision a bit and put aside the preconceptions or misconceptions; we can probably do almost anything we can put on the wall.
SAXBOY
www.gregvail.com/sys-tmpl

I'm one of those R&B sax men of the 60's who never got into altissimo but can appreciate it's use and marvel at those who do it well. One that I haven't seen mentioned yet is a guy named Bill Holloman. He has an uncanny way of sliding up into the stratosphere with ease. I saw him recently at Foxwoods casino playing bass (very talented musician...plays all reeds plus a great trumpet...never knew he could play bass).

God bless the modern day sax guys who have made the altissimo range such a natural part of the saxophone music of today....my fav is Gerald Albright....Georgia on my mind...heard him do it in person...I had to change my depends after he finished.

Amen

[michaelbaird]

Gerald Albright, David Sanborn, Michael Brecker;------ME! :twisted:

[sax2003]

Man I cant hit that Second Octave G or the 3rd one its hard...past the 3rd G is really hard... Im barely a high school graduate going into college.. Any advice for me guys... on helping me out with the altissimo range? My setup is a Yamaha Allegro YAS-34II AL with a Yanagisawa Silver Metal Mouthpiece #7 with a Vandoren Traditional #3 , just bought a pack of the Vandoren ZZ in 3.5 and 2 packs of Vandoren Traditional in #5.. what would be better ? To use a harder reed or what??? I can probably play with a #5 , just take some time to get adjusted to.....

[MHS Sax 4 Life]

Yeah I'd have to say Lenny Pickett is da coldest sax player ever man. Not just because of his altissimo but just da way he plays. Da first time I heard Knock Yourself Out..........I wuz like :shock: :cry:. MAAAAAN!!! I hope I can get dat good when I get to college mayn. Gerald Albright too. And Kirk Whalum, David Sanborn, Boney James, and all of those cats man.

[Nick]

George Young - his altissimo is unbelievable. He is so fluid.
Yo, Rollen, you and I think alike regarding George Young. He is so smooth, technical, and "IN TUNE" throughout his whole range. I just love listening to him. Too bad he doesn't put more of his own CD's out. I hoping to get in contact with him in some way. Take care, Nick

[Anonymous]

Why, did you want to stalk him?

Lemmie borrow some of your George Young stuff!

[MS]

Remenber hearing some George Young cuts in the mid 60's. Wow! :D

[kingperkoff]

don't forget Jr. Walker (Foriegner's "Urgent") and King Curtis.

[Keith Ridenhour]

King , You're no slouch yourself. I heard you with Red Archibalds band at a party in Santa Rosa a couple of years ago. Playing that Don Menza piece. I think you invented some new notes on When a Man loves a women. ( I was the nervous sax player in Jami Jamisons band) Really enjoyed hearing you. K

[Martinman]

I'm one of those R&B sax men of the 60's who never got into altissimo but can appreciate it's use and marvel at those who do it well. One that I haven't seen mentioned yet is a guy named Bill Holloman. He has an uncanny way of sliding up into the stratosphere with ease. I saw him recently at Foxwoods casino playing bass (very talented musician...plays all reeds plus a great trumpet...never knew he could play bass).

God bless the modern day sax guys who have made the altissimo range such a natural part of the saxophone music of today....my fav is Gerald Albright....Georgia on my mind...heard him do it in person...I had to change my depends after he finished.

Amen

Glad you mentioned Bill, I just listened to Sky King... the only song I have by him. Great altisimo

[mwhaa]

Denis Diblasio

I just love his altissimo register as well as his scat and everything else he does

Scott Robinson His altissimo sound is so velvety its scary

Michael Brecker and Lenny Picket - enough said

My band director Metro - he impresses me with one of the greatest sounds ever

Seamus Blake he is just so fluid up there.

i like guys like Josh Redman and CHris Poter but to me they just disappear as they go higher and thin out maybe its just me.

-mwhaa

[asaxman]

I would still have to disagree. There are guys that play as good up top as anywhere. John Philips is amazing. 20 years ago I first heard an Orange County Local playing in a Newport Beach club and this guy (Wayne Wayne, yes it is his real name) was playing bebop with amazing technique over an octave or two of altissimo.
Albert Wing is another LA guy that kills me.

I would agree that the number of sax guys pulling it off are few and far between, but I think it has to do with expectations of difficulty.

Remember the first guy who broke the 4 minute mile. How many guys started doing it right after him. All I'm saying is we need to stop hiding behind the impossible wall and raise the bar for all of our own good. 2 1/2 octave range sucks.

EWI is so cool with a real range.
I know people that play great 3 1/2 - 4 Octave ranges on sax.
I would love to see kids stop thinking it is way too hard and just go for it.

I played Bari tonight and started getting up to D better than ever before. I just went for it. It sounded great... well good; but I love just breaking the walls down.

It is a really big country. There are guys all over the place that kick this stuff silly. If I know 3 right here in LA, how many others can there be?

I am not trying to argue with you Kevin. I am trying to argue with myself in an open forum to break down the wall and run the 4 minute mile.

I want another Octave on Tenor and would never even try if I was sitting around saying it is way too hard to really use or thought it would just sound bad.

When I talked to Gerald Albright last, he said it was all about range now. He wanted to play higher and higher. He wanted to find out if there was really a limit. I love that...

I met a guy out at NAMM that was playing Tenor so damn high it was scary. Never heard of him before, but he was amazing. He had a good 2 ½ Octaves of scream and was getting around really well up there. I am still looking for his card because I want to see him again, maybe get a scream lesson.


SAXBOY
Greg, Thanks for the kind words! (It only took me 3 and a half years to acknowledge them!!! LOL, WW

[cabaretdada]

Whenever I play altissimo I hear people shout "L. P." but Michael Brecker has a melodic and seamless use of the altissimo. It's as if it's simple another octave or so, only different fingerings (kinda like a basson or something). Without listening you might not realize when he is using it. On the other hand, making your altissimo obvious can get the crowd pumped up.

[asaxman]

Whenever I play altissimo I hear people shout "L. P." but Michael Brecker has a melodic and seamless use of the altissimo. It's as if it's simple another octave or so, only different fingerings (kinda like a basson or something). Without listening you might not realize when he is using it. On the other hand, making your altissimo obvious can get the crowd pumped up.
Go for the Brecker approach! It's A LOT harder, but very musical. The second approach can be pretty tasteless, (and panders to the baser emotions), which is why I also do that! LOL

[A.Smith]

For saxophonists to advance they have to have the opinion that nothing is impossible on the intrument. Just nobody has achieved it yet.

[azahurak]

Lenny vid: http://video.google.com/videoplay?docid=-2791068386367678935

[sax_therapy]

Lenny Pickett.

I agree totally!!!!

[whaler]

I'd have to go with Rick Margitza, but Coltrane had such an emotional sound in the altissimo. The Lenny Pickett stuff just seems typical of the way rock players play altissimo. Not really part of a line, just a leap to some high note.

[cornific]

i very recently heard a stunning ravi coltrane cut on the cbc. it was recorded live at last years montreal jazz festival. i was transfixed listening to his solo especially his use of altissimo. of course the great chris potter is amazing, and all the regular geniouses mentioned earlier in the thread always amaze with their sax trapeze artistry.

i am ashamed to say that this was the first i had actually heard any of ravis' work and it was a huge tease. i hope the rest of his output is up to the standard that i was confronted with this weekend. i'm ready for more, alot more.

[Edo]

I was tempted to start a new thread, but this one is suitable enough...

I just gotta share this, was browsing around YouTube and found this vid:
http://www.youtube.com/watch?v=JaBGW3CaQR0

Marc Russo was playing up there with excellent control...check out 3.56 and 4.41..

Blew my socks off...:shock:

[fballatore]

Talking about altissimo control, I can't gt enough of Gerald Albright on Georgia on My Mind - two versions, on on the Live at Birdland West CD, adn the other from New Beginnings.

Frank

[whaler]

I was tempted to start a new thread, but this one is suitable enough...

I just gotta share this, was browsing around YouTube and found this vid:
http://www.youtube.com/watch?v=JaBGW3CaQR0

Marc Russo was playing up there with excellent control...check out 3.56 and 4.41..

Blew my socks off...:shock:
His altissimo playing is great, but when he tries to play an eight note line, he's sounds like he needs to do some homework. I like this band better with Mintzer.

[Nefertiti]

Wow! That Marc Russso video brings back memories. The yellowjackets were one of the first jazz groups I saw as a kid. It was at the Syracuse Jazz Fest. I remember being blown away by them and also by Flora Purim with Rick Margitza on tenor. I never forgot Rick from that one concert. Both amazing players.

[Swingtone]

Definitely the guy who plays on that bluesy end theme to Saturday Night Live, you know, when they're all up on the stage and the host says goodnight. That's got to some of the most recognized altissimo playing of all time--even the general public would recognize it on "Name that Tune." What's that guy's name? I apologize for my ignornance. I'm 99% a jazz fan, and the only R&B/Rock sax player I know much about is Clarence Clemmons.

[ThunderWhale]

Definitely the guy who plays on that bluesy end theme to Saturday Night Live, you know, when they're all up on the stage and the host says goodnight. That's got to some of the most recognized altissimo playing of all time--even the general public would recognize it on "Name that Tune." What's that guy's name? I apologize for my ignornance. I'm 99% a jazz fan, and the only R&B/Rock sax player I know much about is Clarence Clemmons.


I believe you're thinking of Lenny Pickett. Yeah, he's great!

[mwhaa]

one name that i haven't seen mentioned. Dino Govoni I love his sound up there

-mwhaa

[J.Max]

No classical players are listed, except Dale Underwood, so here are a few...

Otis Murphy (I like his Fantasia recording better than Underwood's in some ways)

Sigurd Rascher (Might be tough to find excellent example recordings though).

Lawrence Gwzodz (I think it's his recording of the Cowell Air and Scherzo that I have. It's very,very good.)

David Bilger (Most of his albums are out-of-print, but a few are available from Dorn on cassette only.)

Nobuya Sugawa (His recording of the Fuzzy Bird is un-freaking-believable)

[stu the sax player]

James Carter
Joshua Redman
Chris potter

[meilana]

Seamus Blake
Mark Turner
Chris Potter

[potiphar]

Nobody's mentioned Tommy Smith, who takes a sweet subtone from low Bb up into the ionosphere (sorry, he's not American - does that disqualify?).

[Dave The Sax Man]

Check out Michael Langton in Harlem Nocturne Overture and Other things.

[selmer]

For Altissimo you have to listen to GARBAREK.....WHETHER YOU LIKE HIS MUSIC OR NOT. His altissimo is breathtaking...just as clear and precise as the normal octaves.

[FunkyHorn626]

Go on You Tube and type in Funky Mama by Danny Gatton who is a guitar player if some dont know who he is.... Tenor player on that live performance is INSANE

[themacintrasher]

Try Hamiet bluiett
http://www.youtube.com/watch?v=gkTEfrmqxws
he's the bari sax player on this video

[Swampcabbage]

My own current faves.

Lenny Pickett
Bert Wilson (Lenny's private teacher for many years)
Donny Mccasslin
Chris Potter
Chris Speed
Rick Margitza
Joshua Redman

Plenty more, I know...

[musicman76]

I don't consider the highest the best. Rather, I'd say folks that can play into and out of alt. seamlessly are the true masters, because it makes the top tones useful musically...not just an effect.

So, with that, I'd put Ben Webster in, just for starters (and because he's my hero).

As far as into and out of - Mr gorlick (please don't throw any stones!) does pretty well on midnight motion and slip of the toungue - maybe given his upper register on all three saxes sounds like a soprano:?

[SaxTon]

Michael Brecker
Brandon Fields
Norbert Statchel
Chris Potter


I tried to name some that weren't named yet...

Brecker indeed must be on the list. I was fortunate enough to hear him play live up close 3 times.
For Classical I still remember hearing Sigmund Rascher live at a sax master class many years ago. But I am not current on modenr classical players.

It's not just facility in the altissmo range - it's MUSICALITY FOREMOST!
There are may "atheletes" out there that do not move me.

[pc1234]

I vote Rick Margitza and Chris Potter as well (but especially Margitza). So fluid and musical.

Regarding Lenny Pickett and the SNL "closing credits" song - this may sound like heresy, but is it possible that he's simply biting the reed on those super high notes? I experimented with this when I was (much) younger, and found it wasn't too hard to hit and sustain some kind of chord tone at a ridiculously high octave. It wowed people who couldn't play (i.e., other high school students), but it made me feel a little cheap.

[Zacharias]

Bert Wilson

[MartinMusicMan]

is it possible that he's simply biting the reed on those super high notes? I experimented with this when I was (much) younger, and found it wasn't too hard to hit and sustain some kind of chord tone at a ridiculously high octave. It wowed people who couldn't play (i.e., other high school students), but it made me feel a little cheap.
I don't know if that's what Lenny Pickett's doing, but it's what I do. I bite and hit a stratospheric note at the peak of a solo or for the big ending. I can place the note at the pitch I want, bend it, whatever. It cuts through very high volume. I don't feel cheap. It's a legitimate technique. I play that squeal as good as others play altissimo. I can hit it spot on, whenever I want.

[azahurak]

No, LP doesnt bite the reed to play up there.

[benbyrne]

Yeah i'd have to say : Chris Potter and Joshua Redman come to mind for me...

[milomo]

Lovano and EDDIE HARRIS!

[Spooner]

I'll second the Bert Wilson mention and add Jeff Coffin who has a pretty crazy range on his instrument as well.

[jsweenie]

the guys with the best control in my opinion are:
Bob Mintzer, Ralph Bowen, Josh REdman, Jim Brenan.
Lenny Pickett has by far the best tone and can hit the highest notes, but I havent HEARD him use much chops up there, although i imagine he has em.

[toughtenor]

Thank you Milomo for mentioning Eddie Harris, He was one of the first to actually use this concept in his playing and writing other than jus for effect. I love the way he played with the extended range of the horn , very musical, lyrical and funky. ( in a jazz way, not the sanborn stuff)

[Sasquatch]

Lenny Pickett. There are no others.

nuff said.

[MartinMusicMan]

Lenny Pickett. There are no others.

nuff said.
Yeah. Forget Jr. Walker. He couldn't play at all.

Lenny who? Does he have any CDs?

[Sasquatch]

Yeah. Forget Jr. Walker. He couldn't play at all.

Lenny who? Does he have any CDs?

Yes. Jr. Walker was an amazing player. I'm just saying Mr. Pickett kind of defines sick altissimo playing ability.

Leon Redbone has lots of CDs, and yet his altissimo is not really up to par. Methinks CDs may not be entirely relevant. ;)

[RootyTootoot]

No, LP doesnt bite the reed to play up there.

How do you know that, if you don't mind me asking?

I'm not saying you're wrong.
:)

[azahurak]

no prob. obviously i cant see inside his mouth when he's playing so all i can offer is my anecdotal experience. but, i was lucky enough to have studied with him while i was still back in NY and the "technique" of biting the reed was never employed.

while i'm sure lots of players bite the reed for the effect of hitting a note or slurring, i havent heard anyone play fluently and articulate proficiently in the altissimo range that way.

in my mind there's no right or wrong and the best thing is that its up to each of us to choose how we want to play the funkiest instrument ever...

AZ

[themacintrasher]

Hamiet Bluiett, 6 octaves on bari!:shock:

[playitfunky]

Has any body metioned David Sanborn? Michael Brecker in his funky stuff is amazing. :D

Sanborn is very good player in the upper register, but he doesn't go over d4 a whole lot. He just plays really cool lines in the altissimo and makes you think he's going a lot higher then he is. But yes you are correct Sanborn is a great example.