[Jazz Is All]

 

[jazzbluescat]

....

Ain't that the naked truth.

 

[Nefertiti]

That is an amazing story! Thanks!


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[soybean]

Great story. and it's kind of funny to think of Parker struggling with a bari.

 

[IsaacRosserAK]

The same thing happened to me with Bobby Watson. I asked him after a clinic he was doing with the Thelonious Monk I.O.J how he was getting such a fantastic tone out of his horn. He then asked for my horn, which I willingly gave, and made a Yamaha YAS-23 sound like i've never heard before. Granted, he did slap on his mouthpiece. The tone however was virtually the same from his horn to mine! That was a very inspiring moment and wonderful lesson about using the hell out of the equipment you got. Thanks Bobby.

 

[Jazz Is All]

That is an amazing story! Thanks!

Yeah it is amazing....but thank Phil Woods for telling it, and the person who uploaded it to YouTube for sharing it with us. I was LMAO with his description of Bird playing bari with the 2 ft long piano and the pie-pan cymbals but then he blew me away with the punchline (even the strap sounded great) and the whole point...that it's not the setup, but us that really counts and we need to get to the shed with what we've got and forget about new gear. Definitely "the naked truth" as jazzbluescat so aptly puts it.

 

[Steve Stockham]

That is a story that every aspiring sax player (aw heck, who am I kidding? Everyone) needs to hear!

 

[milandro]

.........and that would close single handedly most of the SOTW threads

 

[betelsax]

No magic... just practice.

 

[saxmusicguy]

... even the strap sounded great ...

I suspect it had a large brass hook.

 

[CooolJazzz]

I heard that clip from Phil quite some time ago, but I agree...it's a "must hear" for just about everyone.

I was fortunate to have learned that lesson as a teenager when a tech who was working on my horn played it before making any adjustments. He had played with the Spike Jones Band back in the 40's, but he wasn't someone anyone would remember and he hadn't played professionally for decades. I was blown away by the sound he got out of that horn, even before fixing some significant pad leaks. Never again did I blame anything on the horn or the setup I was using. It's probably also one of the reasons that I never developed a serious case of GAS over mouthpieces.

 

[lhoffman]

I think the most important lesson is...no one sounds good on a bari.

 

[segaleon]

Great story. Thank you.

 

[Peter B]

Terrific clip and what a great story.

I hope it's OK to tell my own little Phil Woods story here. Phil Woods is not only a legend in his own lifetime as a great sax and clarinet player who's right up there with the very best of them, but he's also a pretty darn good composer too. He was very good friends with the celebrated Argentinian composer Astor Piazzolla who regularly travelled to see Phil Woods performances, and Phil Woods composed a lovely little piece called 'Piece for Piazzolla' in memory of his good friend. It's on his website here http://philwoods.com/scorch/PieceforPiazzolla.htm scored for flute, clarinet, accordion, cello and bass, but my quartet has 'Piece for Piazzolla' arranged for sax quartet. It's a beautiful, clever and thoughtful composition and whenever we play it people always come up afterwards and ask........"What was that piece you played....?"

 

[Strayhorn]

Whaaaaaat?!? :shock:

Stop looking for the magic mouthpiece????? :yikes!: :yikes!: :yikes!:

Go back to the shed and practice????? :dontknow:

Who the heck is this Phil Woods guy anyway? rotest:

:glasses7:

 

[Bebopalot]

Phil inherited Charlie's wife, Chan Parker........ Or as Art Pepper put it, "he married her just to get his hands on Parker's horn". Now there's a lesson from Bird.........