[artstove]

Like on Harlem Nocturne. How does he get that? Seems like a relatively loose embouchure and a soft reed? And probably more mouthpiece in the mouth than this ex-clarinet player is used to. Am I on the right track? What am I missing? Other suggestions?

 

[mrpeebee]

Actually the opposite!

Indeed a loose embouchure, on an old Otto Link Tone Master opened to around 7, with about a number three reed. And he was in slow numbers more a 'close to the tip' player, not taking in a huge amount of mouthpiece (like Dexter did).

The trick is to play with a full bodied sub-tone.

And I guess you are referring to this great version:

 

[Saxophone Strange]

You can get that sound on a soft reed but you have to have a hell of support and control. The loose (not weak) embouchure is key as mentioned before and the location of your bite is relevant too. Also, it’s not what horn you play so much and can the horn go from 0-11 based on that control. Definitely not a large tip mouthpiece though. It is worth noting the the mouthpiece needs to be flexible enough to change it’s timbre quickly too. I know MrPeeBee mention a link but you can get this sound on Dukoffs as well. What are your natural tendencies to a sound; brighten or darken?

 

[artstove]

And I guess you are referring to this great version:

Yeah, that one! Thanks. Okay, gotta work on my subtones...

 

[mrpeebee]

Definitely not a large tip mouthpiece though.

It's actually quite easy on a big tip with a softer reed, but you can also do it on a small tip with hard reed. It's really the player's control which is the most important factor. >Here< is an example of me on a 12* Durga with a 2 Plasticover aiming for such a sound (of course by far not as good as IJ!).

I know MrPeeBee mention a link but you can get this sound on Dukoffs as well.

I mentioned the TM Link because Illinois played one, but it's indeed independent of the mouthpiece. But I think a bigger chamber helps with shaping the sound!

 

[artstove]

I've got a few mouthpieces, so will probably try it with an Ishimori HR 7* or a refaced Rousseau, and 2.5 or 3 reeds. I've been futzing around plenty with equipment, but what I need to do is futz around with my technique instead.

 

[whaler]

Hear it, play it.
Immerse yourself in it by playing along and try to match his sound.
‘it’s more of getting the sound in your head than equipment.

 

[Reet McVouty]

Most of what it takes to match someones sound is putting on their record and playing along with it. You have to go for the sound using your embouchure to shape it. That tune was all sub-tone on Jacquet's part. Really great tune, I gotta pick that one up!

 

[datsaxman]

Another vote for "It is you". Play on whatever gear you are comfortable with already.

 

[AddictedToSax]

Actually the opposite!

Indeed a loose embouchure, on an old Otto Link Tone Master opened to around 7, with about a number three reed. And he was in slow numbers more a 'close to the tip' player, not taking in a huge amount of mouthpiece (like Dexter did).

The trick is to play with a full bodied sub-tone.

And I guess you are referring to this great version:

I've been working on that song, same version. I think PeeBee is correct. It's mostly sub tone. The thing to listen to is his articulation. Which notes does he play legato and which notes does he tongue. Also he changes it up in the second chorus using more grace notes and less sub tone.

 

[artstove]

Another vote for "It is you". Play on whatever gear you are comfortable with already.

Yeah, I figured that out. The gear makes a little difference, but not that much.