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I was watching this James Carter video: https://youtu.be/JbzpdoGu6CI
And I’m curious as to what the effect is called that he uses at 0:34. Is anybody able to tell me what it’s called, and by extension how I could go about learning it?

Thank you!
 

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You should really study that because this guy is happening. I like it that he can border on the 'frenetic' and snap right back into beautiful 'pretty' playing. Looks like he is playing some kind of Link - makes me want to try one. :)
 

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You should really study that because this guy is happening. I like it that he can border on the 'frenetic' and snap right back into beautiful 'pretty' playing. Looks like he is playing some kind of Link - makes me want to try one. :)
He's playing a Lawton. (10 I believe)
 

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Leo, I sure can't answer your question. I have no idea how he does half of what he does. Wish I did, though. Say what you will, he's a unique player. Mind-blowing.
 

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James Carter uses the Flexiblity of the Rico Royal "Plastic Cover" Reeds to get a variety of effects.
He does indeed. They are a very odd reed in how responsive they are. I have bought a few boxes over the years. On certain mouthpieces I found they were wildly uncontrollable. And all of my altissimo notes would jump because I was used to the resistance of a normal cane reed. On some other mouthpieces that characteristic seemed less pronounced and they were really fun to play.
 

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Carter is the master of most 'effects' possible to do on a sax and a lot of purists stupidly criticize him for using them. I say he's playing what he feels and enjoy his playing very much. He is the only one today carrying forward these 'old-school' tricks plus he has invented quite a few himself. I couldn't see the mouthpiece very well - I was going by the ligature style, forgetting that Lawton used that too, and now Wanne. I let the next video in line play on You Tube and it was Carter and Marsalis. I was noticing how much I liked Carter's sound over Marsalis with his flat, dead tone - one of the players who take 'dark' to the very extreme end. It just doesn't sound right to me. The sax needs to be brilliant and penetrating - even Getz's tone had these qualities. Even Desmond did.
 

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Carter is the master of most 'effects' possible to do on a sax and a lot of purists stupidly criticize him for using them. I say he's playing what he feels and enjoy his playing very much. He is the only one today carrying forward these 'old-school' tricks plus he has invented quite a few himself. I couldn't see the mouthpiece very well - I was going by the ligature style, forgetting that Lawton used that too, and now Wanne. I let the next video in line play on You Tube and it was Carter and Marsalis. I was noticing how much I liked Carter's sound over Marsalis with his flat, dead tone - one of the players who take 'dark' to the very extreme end. It just doesn't sound right to me. The sax needs to be brilliant and penetrating - even Getz's tone had these qualities. Even Desmond did.
+100% !
 

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Carter is the master of most 'effects' possible to do on a sax and a lot of purists stupidly criticize him for using them. I say he's playing what he feels and enjoy his playing very much. He is the only one today carrying forward these 'old-school' tricks plus he has invented quite a few himself. I couldn't see the mouthpiece very well - I was going by the ligature style, forgetting that Lawton used that too, and now Wanne. I let the next video in line play on You Tube and it was Carter and Marsalis. I was noticing how much I liked Carter's sound over Marsalis with his flat, dead tone - one of the players who take 'dark' to the very extreme end. It just doesn't sound right to me. The sax needs to be brilliant and penetrating - even Getz's tone had these qualities. Even Desmond did.
Not knocking JC at all, but assuming the clip was the same as the one that came up for me (in the Netherlands with organ and drums?) then I definitely preferred Branford's solo. Less fireworks, perhaps, but then also less fireworks, if you get what I mean. Personally, I preferred Marsalis' tone on a metal piece, but I wouldn't say it's flat and dead.

Jame Carter has phenomenal chops, butI feel a lot of his performance is very visual. If I watch video I'm impressed, if I just listen it often sounds on the edge of gimmicky. Of course I'd love to be able to play anywhere close to that, simply giving my unqualified opinion on the elite!
 

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I was watching this James Carter video: https://youtu.be/JbzpdoGu6CI
And I’m curious as to what the effect is called that he uses at 0:34. Is anybody able to tell me what it’s called, and by extension how I could go about learning it?

Thank you!
Hi Leo, the effect he does at 0:34 is one of the more simple ones -- a growl. He's doing it by playing a low B while simultaneously humming into the horn, topped off with his trademark extra-heavy vibrato.

If you want to go even farther, I believe he's humming around a C sharp concert pitch (tenor middle D sharp).
 

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I think the chances that any of JC’s critics coming anywhere near to approaching his pyrotechnic virtuosity are pretty much zero.

So much joy and fun in his performances. When I go to a show I want to be blown away or taken away by the music and/or experience. Who can deliver on that better than JC? Branford is great. There are a *****-ton of great players out there.

JC delivers next level stuff. Too showy? Personal choice, I guess.
 

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I was watching this James Carter video: https://youtu.be/JbzpdoGu6CI
And I’m curious as to what the effect is called that he uses at 0:34. Is anybody able to tell me what it’s called, and by extension how I could go about learning it?

Thank you!
That sounds like a low C played in sub-tone with over blowing an octave by putting a certain pressure on the reed. I don't know exactly how to reproduce this (will try it next time I have the horn in my mouth), but I know from experience that you can create a lot of strange sounds when using a (very) big tip mouthpiece (giving a very flexible intonation).
 

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As I've related before, when he tried out my SDA tenor he grabbed something only slightly less than randomly out of a box of miscellaneous mouthpieces, and blew the roof off of the place. It was totally mind-bending, and I'm entirely convinced that he could make Joe the Butcher's work sound great.
 

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He's amazing and yeah he's having a great time being amazing. I think very fun to listen to, unique and extremely gifted. There's plenty of room for him and all the others in the pantheon of greatness. I only have one of his CD's which I bought probably 10 years ago and there's enough in that one to keep me interested that long:) Seeing videos of him here and there is always enjoyable and impressive for me.
 
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