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Discussion Starter · #1 ·
I'm a jazz saxophonist who is decent at the classical side but have a limited knowledge of the rep. I am looking for "classical" saxophone pieces that incorporate jazz or pop styles. I'm mostly interested in pieces composed after 1970 and are somewhat in the mainstream repertoire. I know of a few like Grab It!, Four Pictures From New York, Blue Caprice, Bill Dobbins Sonata and Phil Woods Sonata. Thanks.
 

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Fuzzy Bird
 

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Also, there was a concerto written by Michael Kamen for David Sanborn, but I'm not sure that is available or worth plaing...
 

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Well, there are the Claude Bolling pieces. I'm not very fond of them but others are. Worth checking out if you don't know them.
 

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The Michael Kamen concerto isn't awful. It is very commercial sounding (think late 80s movie soundtrack), but it has some good moments. There are a couple of recordings of it on Spotify.
 

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Discussion Starter · #10 ·
I've heard some Bolling but don't recall saxophone being used. Are some of these pieces written for saxophone?
 

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There are some pieces by the British composer Dave Heath for soprano saxophone and piano that are influenced by John Coltrane - John Harle played them. They were often played in the U.K. Another British composer, Andy Scott, has written pieces with these influences that I have heard in recitals. However with a lot of composers, the jazz or pop influence is often under the surface rather than obvious.

I have also heard a few jazz influenced pieces for saxophone ensemble that have an improvised saxophone part, unfortunately I can't remember what they were.
 

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If you finding yourself really digging classical pieces, check out the Concertino da Camera by Ibert. It's not jazz but it is certainly influenced by jazz.
 

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Hot-Sonate is in kind of a grey area because it's influenced by 1920s jazz, which is not and has never been taught in music schools. A modern jazz approach wouldn't work nearly so well with it.

Mostly, I've heard it played with a more-or-less straight classical sensibility, which at least doesn't depart too far from sax tone as it sounded in the 20s. It also honors the formal rhythmic complexity that was Schulhoff's way of approximating a jazz feeling in written notation.

Branford Marsalis discusses Hot-Sonate
 

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