By the way, this is mostly a reflection on my own plight not a statement towards everyone else. If you know me and my site you know it would be pretty hypocritical of me to be preaching to others about this with my history!
Ouch! That could lead to some harsh introspection, Steve.Nefertiti said:If we're always switching and changing is it possible to develop your individual voice? Is it possible to become a master? Or are we slaves?:?
I play in a little big band, and I have to go from Fletcher Henderson, to Duke, to Nestico, to 70s funk, to smooth jazz. I had been playing on a slant, and could get everything but the funk and smooth jazz. I switched to an RPC 90R--and you're right--I can play just about any style on it (well, I wouldn't try classical).Agent27 said:I got an RPC 90R alto in college that I use for all my non-classical playing. Playing lead alto, I could go from sounding like Johnny Hodges or Marshall Royal to Cannonball to Phil Woods to Vincent Herring. At leas as far as tone. I hooked up with a funk cove/wedding/party band this year and some stuff requires a contemporary/smooth jazz style and tone. I played the part along with the recording and after a few minutes I went HOLY CRAP! I can get a bright smooth jazz tone out of this thing. I lend more towards a darker tone and I have no desire to have a smooth jazz tone unless I absolutely have to use it. It totally shocked me that I was able to get that tone out of the same mouthpiece that gets a great Johnny Hodges sound too.
Yes it's the George Leonard book I am reading now.That is the one I was refering to but I have read the Werner book as well.Swampcabbage said:Or, it may be Mastery by George Leonard. Also a very good book.