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· Distinguished SOTW Member/Logician
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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.
I consider Potter to be a technician up top, but I prefer Lenny overall. As for straining, that's showmanship, and I'd never begrudge that.

Funny, I just caught Melissa Aldana with the Navy Commodores from about fifteen feet away, just as I did Potter some years ago. With Potter, as I said, he's a technician and I have clear memories of his playing up top. If Aldana spent much time up there, I didn't notice. Just wasn't a take away from the performance. Which I suppose, is probably a very good thing as she had to be up there at times.
 

· Distinguished SOTW Member, Forum Contributor 2009
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It all depends on what I hear. I was a trpt player my first 12 years so I hear hanging on high notes as something I’m used to. No reason not to ? I hear that register so I go up and play there. I think guys like Sanborn. And picket hear it and olay it the same way. They aren’t playing alt. Just notes. K
 
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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!
+1 for Marc Russo. He's unbelievable up there.
 
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There is grunt altissimo that we see a lot in pop and rock which is coupled sometimes with multiphonics. But what amazes me is Mark Turner where the boundary is not so defined and he strives to keep the tone and timbre round. John Surman as well. There are classical cats that do that too and will play altissimo pianissimo or will do glissando from G4. These hit me harder but I think the grunt style is what the OP is referring to . Hamiet Bluiett's altissimo on the baritone never ceases to amaze me
 

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I’m sure it’s been mentioned, but I have never felt like Lenny Pickett (the reason I picked up a sax 45 years ago as a 13yo) was doing gymnastics. Every note seems like a purposeful end to the emotional arc of a solo. To me - with a great nod to Rocco - booty shakin’ bliss.
 

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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
I went to Berklee when I was 37. The majority of the young sax players could play all the high notes, but I was one of the few who could the low Bb without an issue.
 

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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.

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Good point. He is primarily a clarinet player. he took up sax when he didnt get many gigs playing his hot clarinet. he plays the alto like if it was a clarinet. I personally dont like his style and his squeaky clarinet sound. He has fantastic altisimo but one can only take so much.
 

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use altisimo sparingly. warren hill is another guy who loves these ridiculous notes. sometimes I can only take 2 songs of his and I got to turn it off. squeak after squeak.... it is a nice finale on a solo, or an impact note during rock and roll etc.. but to always be playing rancid hard squeaks is too much. some guys use it too much. warren hill, albright are guilty as charged.
 

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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"?
I think Bert Wilson is the best I've heard on altissimo and multi Phonics.
He's the only guy Lenny Picket credits as a teacher.
 

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I agree with many comments posted here.Tastefully is the way it should be done,and less is more. Too much of anything is too much.I live in Florida and have seen Ed Calle live many times. He's got a 5+ octave range and incredibly proficient, but after a while it gets to be too much
 

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Not a sax player but Bill Watrous sure could sing way up there on trombone.
I think Altissimo on soprano is the best. Its the best way to get rid of a table of misfits that are throwing shade my way.
and if not already mentioned UP IN ORBIT
 
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