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Hey all

Really have been digging chris potter as of late. I have two questions that I'm hoping someone might know the answer to.

How does he get that sound I know hes probably screaming into his horn. I can do that but no matter how hard I try i can't get it to sound like his.

Second, Does anyone know the fingerings he uses to have such fluidity up there?

Look forward to your replies.

-mwhaa
 

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Hey Whaler great clip with Rick Margitza. That's the first time I've ever heard him play. He's got the Brecker influence, but I like his tone better than breckers.

For me Potter isn't one of my favorites and I think for the amount of press the guy receives I'd be embarrassed because there are tons of guys that I feel need a little of that exposure that comes so easily to Potter.

In Potter's defense he's probably using a much larger chambered mouthpiece than Rick is using, but I'd rather listen to Rick tear it up any day of the week.

As far as Altissimo and control. It's all in your head. You have to hear it in order to play it and than you have to go through all the frustration of actually getting it to come out the way you hear it. Fingerings have little if anything to do with any of this stuff. It can drive you crazy, but if you stick with it and don't give up you'll get there, it just takes a lot of work and you need to work at it every day.
 

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whaler said:
The fingerings in "Top Tones" are the best for "fluidity". IMO here's the cat with fluidity in the altissimo. Check out what he does at 3:30 into the cut. That's more fluid than anything I've heard Chris Potter do (and a LOT better sound).
Hey, I love Rick Margitza and think that performance is great, but I've gotta ask what Chris Potter you've heard, 'cuz there's nothing there that'd scare Potter -- I've heard him sounding like he's playing the Omnibook up in dog-hearing range, pure and clean bebop and post-bop in the octaves that ain't on the Rubank fingering chart.

heath said:
For me Potter isn't one of my favorites and I think for the amount of press the guy receives I'd be embarrassed because there are tons of guys that I feel need a little of that exposure that comes so easily to Potter.
Ya think? I mean, in terms of press even to be a great jazz master is akin to joining the Witness Protection Program compared to the coverage of whatever is the pop crap du jour.

I don't see a lot of b.s. hype surrounding Potter. But I will grant you that there are plenty of deserving players out there....
 

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Kelly Bucheger said:
I've heard him sounding like he's playing the Omnibook up in dog-hearing range, pure and clean bebop and post-bop in the octaves that ain't on the Rubank fingering chart.QUOTE]

Yeah! Check out the bootleg recording of Potter playing all the things you are... He plays some great bop phrases in the altissimo.

I love that Rick Margitza clip though. Its really cool how he opens his solo ascending into the alltissimo!
 

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Chris is without doubt one of the real greats out there and is also one of the nicest,most humble people around. His new live CD "follow the red line" comes out on Sept 11 and boy does he show what he can do on that.....don't miss it!!
 

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Don't you think that both Potter and Margitza get the altissimo sound that they actually want? There are a lot of ways to approach the altissimo- one can plaly it clean, such as Margitza, or with a vocal approach such as Bergonzi. The debate over which is "better" when one is talking about top level players who can bassically do anything they want, is really just talking subjective personal preferences. I thought it was interesting that when Ken Beason actually asked if I liked to play the altissimo G clean or vocal (he used Bergonzi as an example of the latter) when setting up my tenor.
 

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Kelly Bucheger said:
Hey, I love Rick Margitza and think that performance is great, but I've gotta ask what Chris Potter you've heard, 'cuz there's nothing there that'd scare Potter -- I've heard him sounding like he's playing the Omnibook up in dog-hearing range, pure and clean bebop and post-bop in the octaves that ain't on the Rubank fingering chart
I guess I really haven't listened to Potter as much as Margitza, but there is a reason for that, I prefer Margitza's playing and compositions. Potter's tone is a little on the "stuffy" side for me. It seems to me that Margitza's altissimo has the same quality of sound as the "natural" range of the horn. I guess it's apples and oranges, but I put Margitza in the realm of the "must listen to" sax players while in Potter's playing I've heard some things that make me think, "I wish he hadn't played that". I've caught them both live and Margitza blew me away.
 

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whaler said:
Potter's tone is a little on the "stuffy" side for me.
I was about twenty feet away from him at a show and felt the same way. I actually kept thinking to myself, so that's why no one plays silver Selmers. No cut on his playing. Just not my sound.
 

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I didn't intend my comments to be used against Potter. I own most all of his albums because I wanted to give the guy a fair chance. I gave him a fair chance and have moved on to others that I'd rather listen to. He's not the only modern mainstream player that I feel this way with. I grew bored with several of the T.Monk contest winners over the years. Bought their albums but nothing has blown me away yet.

The Gonz has that dark sound with more cut. For me personally he's one of the most brilliant(if not the most brilliant) tenor players I know of. Constantly inventing and coming up with fresh ideas. Love his altissimo playing as well.

I just ordered a bunch of Margitza's discs today so I'll be checking him out.
 

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heath said:
I didn't intend my comments to be used against Potter. I own most all of his albums because I wanted to give the guy a fair chance. I gave him a fair chance and have moved on to others that I'd rather listen to. He's not the only modern mainstream player that I feel this way with. I grew bored with several of the T.Monk contest winners over the years. Bought their albums but nothing has blown me away yet.

The Gonz has that dark sound with more cut. For me personally he's one of the most brilliant(if not the most brilliant) tenor players I know of. Constantly inventing and coming up with fresh ideas. Love his altissimo playing as well.

I just ordered a bunch of Margitza's discs today so I'll be checking him out.
Do you have Traveling Mercies (Potter)? I don't think he sounds stuffy on that.

And forgive my ignorance, but who is The Gonz? Is the Sugal named after him?
 

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Agent27 said:
Jerry Bergonzi

Thank you. I have of course heard of him, although I have never listened to him.
 

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Martin man you need to get some Gonz. He might be underground to some, but he really is one of the best.

Tim Price has said that he's probably the Coltrane of this generation, even though he's not a young pup any more he just keeps pushing ahead where others putter out and call it a day.
 

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heath said:
Martin man you need to get some Gonz. He might be underground to some, but he really is one of the best.

Tim Price has said that he's probably the Coltrane of this generation, even though he's not a young pup any more he just keeps pushing ahead where others putter out and call it a day.

I will check him out. I like the push-ahead stuff. It keeps jazz from becoming a museum piece.

Anybody have album recomendations?
 

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Well Gonz isn't that modern. He just blows like he means it. And of course he's brilliant.
 

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heath said:
Well Gonz isn't that modern. He just blows like he means it. And of course he's brilliant.

Good enough for me. What of his is good? All of it? Anything special to watch out for?
 
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