Sax on the Web Portal - My 25 guys.

  • My 25 guys - whom to imitate

    My teacher (Tevet Sela) made an observation in my last lesson. I told him with all the tech work we've done I can play fast but so what? Where will that go. So he suggested I look through my library and look at players I like. List why and perhaps what I want to learn from them. Heres 25 I came up with in about an hour. so my challenge is to listen to them and steal steal steal. feel , inflections, tech, licks you name it. and the compilation of that will be ME?

    1. Everette Harp Song Kisses down line. I like the grit, soul, tone , His inflections coming down to a chord tone.

    2. Art Porter Texas Hump Background real funky. His tone is too processed for me. Everette is better. Porter has great time sense and inflections. Tone too bright no warmth He sounds like a fatter Eric Marienthal

    3. Bob Mintzer Groovetown Great tone, his lines are right in the pocket clean. Uses the major and minor pent well , simple lines lays it right down

    4. Steve Coleman Oracle Love his core tone, no harsh. moves in and out of key easily

    5. Brandon Fields Gone but Not Forgotten Always like his volume swells and his vibrato . He opens his sound somehow

    6. Bob Berg The Search Great tone, brighter than Mintzer great background. fades in and out with his lines good at answering his lines

    7. Warren Hill Funky music white boy I like his song grooves, sound is thin and processed .

    8. Dave Sanborn Hideaway Love his tone and lines. He is the best at building a long long solo. for a pop groove

    9. Sonny Stitt Au Private I really like his tone but he puts in too much bop between phrases

    10. David Fathead Newman it was a very good year Very controlled tone, like a classical trained musician Pretty

    11. Justin Robinson The Challenge Good jazz tone lines

    12. Eric Kloss African Cookbook Nice raw feel jazzy fluid Coltrane influenced

    13. Gerald Albright Respect Yourself Really like this scoring , tunes, great tone, leaves space in lines

    14 Charlie Mariano Adagio for Oboe Incredible tone , very soulful, great control of phrasing

    15. Kenny Garrett After the Rain Distinctive tone pretty feel expressive phrasing

    16. Pat Caroll Interesting Jazz tone, great lines

    17 Kirk Whalum All I do Great tone and phrasing

    18. Grover washington all the Kings Horses Dark and expressive sound

    19. Charlie Parker All the things you are bad recording quality Great tone and lines for bop

    20. Phil Woods all the things you are. In your face tone very expressive

    21. Tom Scott Anytime anyplace Love his control of the the song nicest scored

    22. Bob Berg Arja Great tone, phrasing , lines distinctive tone

    23. Macao Parker Better get it in your soul Old school meyer tone. Good control of lines.

    24. Candy Dulfer Bird cool contemporary tunes, harder sounding smooth jazz tone good lines, good songs

    so from compiling this list (and I left out some of my heros Trane and Brecker to name two) I see that I am mostly at this point drawn to a soul time sound and phrasing and simplicity and logical development of pop type lines. My goal in this list isn;t to say one person is better than any other , just my impressions of what I might want to grab and put in my development. I'm glad my teacher had me do this K
    This article was originally published in forum thread: My 25 guys. started by Keith Ridenhour View original post
    Comments 6 Comments
    1. craigmultireedguy's Avatar
      craigmultireedguy -
      Well, you did say it's YOUR 25... I don't think anyone would mind.
    1. Keith Ridenhour's Avatar
      Keith Ridenhour -
      I found this process very useful. It really shined a light on my next steps, tone and phrasing for my lines. Almost more important than the cute sub V7 diminished scale lick I thought i had to learn. Its all about tone, melody and phrase development for me. And the guys who I listen to all seem to be in that direction. mY best. Pick your fav 25 and see where it leads you K
    1. Mark R's Avatar
      Mark R -
      23. Maceo Parker
    1. BrianMitchellBrody's Avatar
      BrianMitchellBrody -
      Why Imitate?
    1. 1saxman's Avatar
      1saxman -
      Learning how to play what you like to hear from others is how we all advance, because in the process it is altered by the fact that we are different people and it eventually becomes yours. You can listen to any player and hear things that came from someone before him. You do it yourself and probably don't realize that some of your things may have come from something you heard years ago but have now forgotten about - but its still there and pops out of your horn. Its just the way it goes; you hear something, you learn to do it and you start using it in a different way - that's how it all moves forward.
    1. whamptoncourt's Avatar
      whamptoncourt -
      This is all too familiar and I'm afraid that it just continually leads to more cut and paste style musicianship. Will a student eventually become their own person. Perhaps. However if you have never developed a voice of your own and spent years imitating others, then it's like "you are what you eat". Humans imprint on many different things, usually between the ages of 12 and 20 something. Radio stations are extremely aware of this and tailor their programming for a specific demographic (music of the 1980s, etc.) Those who study music are no different. If you think you're going to somehow play a lot differently and no longer use riffs and all that finger memory, think again.

      The challenge is to put down your instrument and SING a line. That's YOUR voice, it's what comes from inside you and you are expressing. If what you play bears no resemblance, then quite frankly you're simply performing learned mechanical exercises that are in no way related to creating music or true improvisation. There is a profound misconception that resembles paint by the numbers: anyone can play music, just learn to mechanically imitate. Changing a few inflections doesn't make up for having nothing to say. All of the intimation and analysis came AFTER those often imitated innovators played. They weren't copying people from 60 years earlier. There was an influence and building from the past, but they made music "their own" by playing "what they heard", not what they copied. Today it seems that the music teaching "business" has completely given up on creativity. It's easier to let the mugs think "anyone can play", you don't need talent as much as you need years of lessons that will (with practice) make you sound OK, but by the end can you play a tune you've just heard for the first time without reading it? Is your instrument an extension of you or just that mechanical thing you blow into and push buttons?

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