Sax Solo Help [Archive] - Sax on the Web Forum

John Laughter

10-17-2003, 03:47 AM

j, it is a tenor and the song is in concert Bb which puts the tenory in the C scale or G scale for alto. His first notes start on high C which will be G on alto. Are you still needing the solo? If you are not in a big hurry I will write out the basic notes and scan the music and email it to you. JSAXL@aol.com

Some additional info;

Born in Lostwithiel, Cornwall, England, on July 23, 1946, Andy Mackay originally trained as a classical musician before moving to the rock idiom by playing saxophone in an R&B band called Nova Express while at Reading University. After answering an advertisement placed by songwriter Bryan Ferry, Mackay was offered a founding place in his new band Roxy Music. Within a year and a half, the band were receiving acclaim as one of the UK rock scene’s most exciting new prospects. A startlingly eclectic mixture of influences, much of Roxy’s power came from Mackay’s striking saxophone work. His expertise on the previously very un-rock ‘n’ roll oboe was also valuable to the Roxy sound, in addition to the occasional keyboard work he also provided. Additionally his combination of futuristic stageware, energetic performances, and matinee-idol looks added to Roxy’s visual appeal, which already featured the photogenic combination of lead singer Bryan Ferry and peacock keyboardist Brian Eno. Mackay also contributed to the songwriting chores, with a couple of self-penned instrumentals—“The Numberer” and “The Pride and the Pain”—appearing as b-sides.

Such was Mackay’s credibility that, in 1974, he released a solo album called In Search Of Eddie Riff, the title of which was a reference to his rock alter ego. A notable supporting cast of musicians including Brian Eno, Phil Manzanera, Eddie Jobson, Paul Thompson, and John Porter helped Mackay produce an instrumental album upon which he demonstrated his musical talents. An idiosyncratic work containing a combination of both conventional rock numbers, reworked classical compositions, and updated songs such as Jimmy Ruffin’s “What Becomes Of The Broken Hearted?” and the Beatles’ “The Long And Winding Road.” Such was its diversity the album included an arrangement of Franz Schubert’s “An Die Musik” and a striking adaptation of Richard Wagner’s “Ride Of The Valkyries” alongside a whimsical version of Roy Rogers’ “A Four Legged Friend.” The collection was completed by some self-penned compositions, most notably “Past, Present And Future” and a parody of 1950’s rock ‘n’ roll called “Walking The Whippet.” A single, a cover version of The Rockin’ Rebels’ 1960s sax instrumental “Wild Weekend,” also emerged, and the song was later featured as an occasional part of Roxy Music’s live act.

As Roxy Music’s career developed, Mackay began contributing more overtly to their output, and a series of writing contributions included co-penning their worldwide hit “Love Is The Drug” with Roxy founder Bryan Ferry. Another highlight was his co-composition “A Song For Europe,” a clever semi-classical pastiche, which allowed Mackay an ample showcase for his sax talents.

While Roxy Music were in temporary hiatus between 1976 and 1978, Mackay composed the music for two series of the BAFTA Award-winning UK television show Rock Follies, in partnership with lyricist Howard Schuman, the first of which resulted in a number one album in the UK charts. Further television work was to follow with Mackay composing the themes to two TV series, Hazel and Armchair Thriller. He also worked with John Cale of the Velvet Underground, John Mellencamp, Mott The Hoople, Paul McCartney, and Mike Oldfield, and produced and played on Eddie And The Hot Rods’ reworking of the R&B classic “Wooly Bully.” In 1978, a further album of saxophone instrumentals called Resolving Contradictions was released, heavily influenced by Mackay’s interests in the experiences of the Chinese people.

When Roxy Music’s career restarted in 1979 with the release of Manifesto, Mackay’s playing and writing were again in focus, particularly in the disco-tinged hit single “Angel Eyes,” again co-written with Roxy lead singer Bryan Ferry. The later Roxy albums were characterized by a smoother, more soulful, radio-friendly sound, giving Mackay an opportunity to exhibit the versatility of his playing. Roxy’s recording career culminated in the album Avalon which included two further Mackay/Ferry co-compositions: “Tara,” a showcase for Mackay’s sensual soprano sax work and “While My Heart Is Still Beating.” Around this time, he also wrote a highly regarded history of electronic music, published in 1982.

In 1984, following Roxy’s split, Mackay formed a new band called The Explorers with his fellow Roxy alumnus, guitarist Phil Manzanera, and released a couple of albums, Crack The Whip and Up In Smoke, to limited critical and commercial success. Subsequently Mackay continued his career as a session player with contributions to albums by, amongst others, Duran Duran’s side-project Arcadia and the Pet Shop Boys. In the late 1980s Mackay’s playing was also featured on an album of Christmas songs released under the collective name The Players.

During the 1990s Mackay’s career was lower in profile, as he balanced studies for a Bachelor of Divinity degree with raising a young family, but he did compose the music for the UK TV series Class Act, a vehicle for actress Joanna Lumley. Mackay was also involved in recording the soundtrack of the glam-rock movie Velvet Goldmine, as a member of a parody band called The Venus In Furs, which also included contributions from Jarvis Cocker of Pulp and Thom Yorke of Radiohead.

In 2001, however, Mackay was catapulted back into the limelight as Roxy Music resumed their touring career after an eighteen-year absence for a fifty-date world tour. His assured sax playing was a strong feature of the reunion.

From "The History of Top 40 Saxophone Solos-1955-2003"