...by vintage American sax players.Carbs said:It is the old Jazz sound from the good old days of Jazz.
20's, 30's, and 40's. They are primarily made by Vintage American horns. IE Martin, Conn, Buescher.
I was hoping people would relate what they believed American Sounds was not what American music is.Dave Dolson said:Is not this thread about the tone of saxophones, American and otherwise? Not music styles? Reads like some posters are discussing styles and others are discussing tone.
Once recordings went electronic, I think the listener received/s a decent example of how an instrument sounded. I don't think we should confuse "recording quality" with "effects."
There is an amazing tenor sax solo by Coleman Hawkins from 1929 (discussed on SOTW before), much of Bechet's recorded material was done electronically, and Hodges, too. I do believe that studio recordings often change the way a horn sounds, as opposed to a live, acoustic performance.
I've heard some of the oldtimers play live. They sounded great. BUT, American-made vs. French-made? A myth. DAVE
charlie parker (cliche haha)-alto saxhakukani said:...by vintage American sax players.
But seriously, I identify a sound by it's iconic player.
Check out the Norman Granz Jam Sessions Box Set on CD, originally recorded in the early 50's. It may be out of print, but I recently acquired it from an obscure seller and couldn't believe the sound quality. The set features a lot of great vintage Charlie Parker, and to be honest, almost sounds like it was recorded yesterday. It's odd for recordings from the EARLY 50s to sound this great. This gives you a good idea of what these players would have sounded like back in the 30s and 40s, since that's what Granz was trying to capture--the sound and style of the old Kansas City style jam session before the people who remembered and could still play in that style disappeared. It also features Ben Webster, Johnny Hodges, a very young Stan Getz, and many more. After being disappointed over the years with one inferior Bird recording after another (in terms of recording quality mind you), I was floored when I stuck this in the player and heard Bird playing the blues with a sound quality that is so lacking in the classic Savoy and Dial recordings--though I still respect the historical significance of those discs.Bar-Ron said:I wonder what Vintage players sounded like live?
When I listen to older recordings, I am of course hearing through the recording equipment of that day as compared to what today offers.
Hey, I like that CD. Great recommendation.vito said:I agree with Dave, it's the player.
Compare Kenny G sound and Christian Vaudecranne from Sac a Pulses. They both play Selmer MKVI and their sound is as opposite as north and south. Here is soundbites of Sac a Pulses http://cdbaby.com/cd/sacapulses and Kenny G you can find in any store that plays elevator music.
Speaking of recordings. Recently I got Hi-Fi bug and put together decent 2-channel system on the budget. And believe me, It took over a year to put together components that would give me a balanced sound that would not be bright or dull. Since then I can't stand artificiality in the sound. I have to listen to acoustic music from studios like Opus 3 (quality is outstanding of their Swedish Jazz Kings recording). Also Soprano Summit CD's and LP's with Kenny Davern and Bob Wilber, Sac a Pulses and others produced decent quality recordings where listener will be emerged in the music. Recordings of Paul Taylor, Tom Scott and others who plays modern stuff collects dust. I can't believe I used to listen to Kenny G. If people would listen his CD a decent system for 1 minute, they would throw that junk in a trash!