Blue Caprice would work with a jazz piece too, and is unaccompanied.thejoyofsax said:Right on, Rick.
I find it interesting that you ask, "can I still use vibrato?" because I think of vibrato as such a necessary classical technique and more of an accessory to a lot of my jazz playing. It really depends on what era you're playing ... swing or older uses it a lot ... ballads, modern jazz. But most other styles I try to eliminate it.
You'll have to tend to the obvious -- put more emphasis on reading articulations and avoid any swing feel or tonguing off the beat. Your strong beats are now 1 and 3. Play what's written on the page ;-)
FWIW, if you don't want to try changing your setup to sound more classical, it's not unheard of to play Piazzolla Tango Etudes using a jazz mouthpiece. Excellent pieces, lots of fun, and of course unaccompanied so it would save you some accompanist cash, but I don't know the circumstances of your audition.
I completely forgot about the Bornkamp set. I'll second that one.Angel said:I'll second J.Max's recommendation of the Rousseau "Concertos" disc, which can be found quite cheaply.
Though there's a wide variety of repertoire recorded on that Le Saxophone Francaise boxset, I find that it serves better as a historical reference than a current model of concert saxophone playing. The Mule (and Deffayet to a slightly lesser extent) stuff on those CDs is very dated, and Londeix himself has recommended avoiding his older recordings as an example.
Instead, I would highly recommend Arno Bornkamp's cheap double disc "The Classical Saxophone" as well as Nobuya Sugawa's rather expensive boxset "Exhibition of Saxophone". If you get these, you get probably the most standard concerto/recital/transcription repertoire for less than $100 as is possible.
Remember that quality listening is equally as important as smart physical practice. It's less an oral tradition as it is an aural tradition.