[plbgbiz]

I'd love to hear what you think about the placement of altissimo in solos. I listen to Gerald Albright do the unimaginable, but honestly it often sounds more like acrobatics in the "look what I can do" category than an artful, or soulful expression. Conversely when I listen to Sanborn's use of of altissimo on the album version of Soul Serenade I get chills going up the back of my neck. I'm not trying to down play Albright by any means. He's probably as clean with altissimo on alto as anyone dead or alive. But honestly sometimes I think he should just get a sopranino. LOL

We spend a lifetime developing the skills needed to get altissimo in our tool box, but how do those of you that are proficient with it decide where to apply it so that it is more than just "look what I can do"?

 

[datsaxman]

Less is more. Yeah, Albright.
But … use it very sparingly.

 

[Brannigan]

Years ago I was discussing Paquito D'Rivera with a teacher of mine. I was commenting on his frequent use of altissimo, and he said something to the effect of "well he's a clarinet player, he probably just hears it that way in his head."

I think some people just like it up there.

Sent from my SM-G998U using Tapatalk

 

[Grumps]

I use it more for effect than with fluid lines; unless we're talking about the lower range from around F#3 to A3.

 

[CaneMutiny]

Being fluid with altissimo means you can leave the Sop and Piccolo at home.
Some marry soprano opera divas so they think up high.

 

[Aquarian]

Sanborn can play melodically in altissimo... Sometimes it's an effect, but he also plays actual lines up there. I think in order to use it you have to consciously work on it for a while. I have so-so altissimo, but I find I don't use it unless I consciously practice it at least a little. One effective thing I did was just play songs I knew up an octave. Unfortunately, I’ve let that practice lapse and my fluency there lapsed just as quickly.

 

[BrianMitchellBrody]

You say it hits your hard. What hard part is it hitting and do you dare share it with us? 🤣🤣

 

[stomias]

And then there is Lenny Pickett

 

[sandster]

I haven’t acquired the habit.🤓

 

[swperry1]

I don’t think it has much at all to do with the note choices as it does the style, approach, and of course our own personal taste. Sure, a lot of showboating happens to occur up high because it is “extended techinique/ range”, but “look what I can do” players sound like they do regardless of range choice. I like Gerald’s playing and energy, but personally I’ll take Sanborn over Albright 8 days a week, Dave just speaks to me more.

 

[BrianMitchellBrody]

i loved Albright's work in gospel but he is more versatile than even Sanborn. Although DS is incredible and a huge influence Albright in many ways reminds me of Cannonball because he is so soulful like CB

 

[reedsburn62]

Chris Potter

 

[Saxophone Strange]

Check 5:13 seconds... if that don't hit for you, I don't know what will.

Cause Marc Russo...

 

[10mfan]

I’ve never really been a fan of someone just hitting that one note up high for an effect. I am much more impressed when they can play lines that go into the altissimo and back down and make it seem effortless and a true extension of the horn.
I also appreciate when they can stay up in the altissimo and do stuff up there rather than the guy that just goes for that one or two high notes for effect.

Here is a GREAT example. and definitely in the style that I personally like to hear it done!
I don’t play anything like this, so it’s really fun for me to hear it done like this.

 

[10mfan]

Check 5:13 seconds... if that don't hit for you, I don't know what will.

Cause Marc Russo...

I always love Marc Russo’s Altissimo on alto! He was my main inspiration for my 10MFAN Supernova mouthpiece. LOVE HIS STUFF WITH THE DOOBIES!
We saw The Doobies live several months ago here, and his alto playing was just phenomenal the entire evening!

 

[sandster]

I haven’t acquired the habit.🤓

Actually, I just haven’t got around to this. I’ve got the Rascher book, have done some work with overtones but no further. I do enjoy listening to the range when used sparingly, and with good articulation.

 

[Hassles]

Everyones ears are different, like thier senses of smell and taste. Personally I consider altissimo needs to be artful, sympathetic to the music and briefly exercised. I do like Soprano but alto and tenor altissimo - artful, sympathetic and brief.

 

[Grumps]

I’ve never really been a fan of someone just hitting that one note up high for an effect.

Depends upon the style of music and the audience you're playing for. Certainly a bunch of Berklee grads are going to tune out, but that's not your average audience. Anyhow, what I meant by "effect" would be this, beginning at the 1:47 mark:

https://soundcloud.com/akagrumps%2Fclean-fast-good-plenty

 

[10mfan]

Depends upon the style of music and the audience you're playing for. Certainly a bunch of Berklee grads are going to tune out, but that's not your average audience. Anyhow, what I meant by "effect" would be this, beginning at the 1:47 mark:

https://soundcloud.com/akagrumps%2Fclean-fast-good-plenty

Grumps,
I totally understand where you are coming from, and I wasn't responding to your comment directly by any means.
I was just saying that I personally prefer hearing guys that can move up in the altissimo as an extension of the horn rather than going for that one note or two former of an effect. That can also work well, I just prefer hearing guys that can really rock it up there. The example I gave of my friend Jaared, is a great example of what I like to hear in the altissimo. Marc Russo kills me up there too.
I'm a real straight ahead player, so for me, it's enjoyable hearing the stuff that I don't do myself when playing.

 

[hakukani]

Almost all of the modern 'straight ahead' players like Joel Frahm, Chris Potter, Melissa Aldana, Patrick Bartley, Mark Turner, Godwin Louis, and many others I can't think of now off the top of my head, use altissimo as a 'natural' part of the horn. There's much less of the 'OMG, I'm STRAINING up here' than there used to be.