#Great tenor sax instrumental

[impulsivedecisionsat3am]

do you ever get homesick for an instrument?

[stargazingpsychotic]

Going to a music shop this week to bring my alto sax in for maintenance... But if I do come back with an instrument (or two 👀) that's because I'm making good choices

[theproblemcallednight]

hey night! I know I literally just sent u an ask but fuck it. u said you played a few instruments in that one thing I sent you, sooo I was wondering what they are?

lmao that’s ok, i like getting asks!

so my pride and joy is guitar, here r my babies:

i’ve been playing classical guitar for like 8-9 years. i rlly enjoy it, i’ve been ding ur forever, and i luv how the guitar sounds sm

also i do occasionally play electric, but not as much. got it a couple years ago for jazz band, so i ik some chords and songs, but i like classical more. jazz is rlly fun tho ngl

i also play tenor saxophone for school:

it looks very nice but this rental is like a gazillion years old and sounds like shit 😭 some of notes barely work right it’s so weird.

but i do play decently, esp last year when i have a pretty new one. i do band and jazz bang w it, so it’s rlly fun, and last year i played a trio w two of my friends and an event called solo and ensemble. and we got blue ribbons so that was fun :))

ig i kinda can play piano but that’s mostly jus me fucking around w chords. i also played flute for a year before i switched to sax, but idk if i can.

anyway those r my lil instruments!! kinda been slacking w practicing but i’ll get my 40 hrs in dw

thx for the ask mo, have a great day/night!!!

[dustedmagazine]

Listed: Kid Millions and Sarah Bernstein

Photo by Caleb Bryant Miller

Kid Millions and Sarah Bernstein both have long CVs in experimental music, Millions as the drummer for Oneida and Man Forever and Bernstein as an avant garde composer and performer with the VEER Quartet, the avant-jazz Sarah Bernstein Quartet, and solo as Exolinger. They’ve been improvising together for roughly a decade, building mesmerizing sonic architectures out of free-form drumming, wild violin pyrotechnics and cryptic spoken word. Of their latest, Live at Forest Park, Margaret Welsh writes, “Bernstein and Colpitts weave sound together into an unsettling fever dream-like warp, growing larger and smaller. All you can do is lay back and surrender to the waves.” Here are some things that inspire the two.

Kid Millions

Billy Harper Quintet — In Europe (Soul Note)

While I admire and enjoy all of the Quintet albums I’ve heard, this particular one captures something ineffable and transcendent. The Quintet’s personnel changes throughout Harper’s career but this particular session has the tunes, the passion, the reaching and the constant surprises that make it my most listened to album in the last ten years. Fred Hersch is especially sympathetic and powerful on this too. I really want to see this group ASAP. Billy Harper is still playing!

Pete La Roca — Basra (Blue Note)

La Roca is a drummer who is unappreciated but his playing and compositions stand out. This album gets the slight nod over the legendary Turkish Women at the Bath because it was recorded well. He’s in the same league as Elvin and also wrote some incredible tunes.

George Adams & Don Pullen Quartet — City Gates (Timeless) (but any record is cool)

I’m leaning on big tenor sounds these days, and George Adams stands in the same universe as Billy Harper because he plays the range of the instrument — there are gorgeous melodies set alongside blistering free blasts. Don Pullen is incredible as well. Near the end of his life he started to write more songs with hooks, but he shreds like Cecil Taylor. I’m digging the stuff that straddles the line between songs and free these days.

Henry Threadgill with Brent Hayes Edwards — Easily Slip Into Another World (memoir)

This is a brand-new book, and I’m finding lots of inspiration and great advice within the pages. His discussion about how young musicians need to find their way within the tradition, among their peers, and on their own terms applies to all traditions, rock included. In order to really engage with the music, you have to play all the time, with other people. You have to play covers, and you have to play in front of audiences. And you need to be fired. I certainly have!

Marcus Gilmore

Such an incredible, deep, drummer. You should go see him ASAP!

Sarah Bernstein

Music/poetry films I like:

When It Rains — Charles Burnett (1995)

Charles Burnett’s work speaks to me as a whole. The films I’ve seen slip into a continuous flow of poetic story/documentary. When It Rains is a 13-minute short film that takes place on a festive New Years Day, but January’s rent needs to be paid. Musicians are among the characters and sound, and it plays like a jazz improvisation. A particular highlight is seeing instrument-maker Juno Lewis on-screen playing his double bell trumpet. The story’s ending will have vinyl collectors smiling.

The Connection — Shirley Clarke (1961)

Before discovering this movie, I knew director Shirley Clarke from her later film "Ornette: Made in America," also a must-see. The Connection is a film version of Jack Gelber’s play for the burgeoning Living Theatre. Most of the actors from the stage play, and all the musicians, are also in the film. The band is swinging: Freddie Redd composer/pianist, Jackie McLean alto sax, Michael Mattos bass, Larry Ritchie drums. The musicians also act in the story, and even the turntable — playing Charlie Parker’s Marmaduke — provides a key recurring motif in the film.

Poetry In Motion — Ron Mann (1982)

Poetry in Motion, By Ron Mann from bob stein on Vimeo.

The other movies on this list are ones I’ve seen relatively recently, but Poetry In Motion I watched in an art-house cinema as a teenager, and it had a big impact on me. The documentary shows 40 poets and performers, including Jayne Cortez, Dianne Di Prima, Helen Adam, William S. Burroughs, Amiri Baraka, Allen Ginsburg, Jim Carroll, John Cage, Robert Creeley, Miguel Algarin, to name a few! Also check out Ron Mann’s first feature film: Imagine The Sound (1981), a superb profile of Cecil Taylor, Archie Shepp, Bill Dixon and Paul Bley.

Desolation Center — Stuart Swezey (2018)

The concert footage is so good. Highlights are Einsturzende Neubauten and Survival Research Labs literally blowing up the desert in Joshua Tree. Also Sonic Youth, Minute Men, Swans, all in DIY festivals and shows taking place in outdoor remote locations in 1980’s SoCal.

Amazing Grace — Alan Elliott/Sydney Pollack (2018)

Aretha Franklin and choir hold a live concert recording session of her gospel album Amazing Grace over two days in 1972. This is not a documentary with talking heads or explanation, rather the action is all in the music and spirit. Aretha Franklin’s genius and deep interaction with the listeners and choir is riveting and inspiring, even more so with repeat viewing.

[demonicwhippedcream]

I think that my time playing tenor sax offers some life lessons. You can find them yourself, though, because I'm bad at explaining my opinion.

About mid-September, I started learning tenor saxophone. I struggled for a month but still couldn't get consistent sound. My director kept saying that tenor was a beast, but I'd get it eventually. Despite that, a month is a while, and I was tempted to quit once we played the upcoming performance, if not for myself for the band I felt i was dragging down. I think it was a week or two before that, however, that my director had a great idea; switch instruments with the other tenor player. I immediately was able to play and got a new instrument the next week.

I'm remembering this today because we were warming up before an edjudicated performance and actually tried to get me in tune. I was so sharp I was almost playing a really flat note a half step above where I was aiming. I could not get in tune. We're messing with my ligature because my director said it was too high, and while I could get it lower, it still wouldn't cover the shadow. This led to the realization that I had been using an alto ligature. Using a hair tie as my ligature today, I was able to blend my sound. Until now, I just assumed that I was supposed to hear my sound extra well when I played, unlike every other instrument I've played, because I had never heard it properly blend until today.

Anyway, I feel the moral here is rather easy to pick out. I think it probably relates to mental health more than anything else, but I never know.

[earcandle]

ECP0896 Cyclone Party 061210 Tape #3 (movie 4): Cyclub

Ear Candle Productions captured a party at the Cyclone Warehouse, a legendary venue on Illinois St. in San Francisco, part of a group of converted art spaces that also included the Lost Door. On June 12, 2010, the Conspiracy Of Beards and their friends threw a great party with many guest artists, and our camera was there to capture it.

On the first part of tape #3, Cyclub perform the mind-blowing space-jazz compositions of Junko Suzuki at the Cyclone Warehouse art space in San Francisco. This lineup of the band features several members of men's choir the Conspiracy Of Beards showing that they know a thing or two about horns and other instruments too.

Jeff Fitzsimmons is on tenor sax, Tim White on bass clarinet and vocals, Mark Parsons on alto sax and vocals, Scott Jacobson on clarinet, and Junko Suzuki on trumpet and vocals. If you can identify the rest, please comment below.

Ear Candle Productions is a small music label, video production, and eLearning website designed to be a place for the arts to stay and to be a venue for the creative products of the owners, John Bassham (AKA J Neo Marvin) and Debra Nicholson Bassham (AKA Davis Jones). We live in San Francisco. Come visit our website, check out our YT, Bandcamp, Ear Candle Radio and other pages at https://earcandleproductions.com

[theindietrumpeter]

Got The Horn?

Actually, have you got 2 horns? 3? 4? If not, why not? Horn sections are the way forward! Legit, quite a lot of the session work and live work I have done has been as part of a horn section. I know you’re thinking ‘well, of course, it’s obvious’ but if it’s that obvious why haven’t you got your own horn section yet??

Synthesised sounds of the 80’s not withstanding, horn (or brass) sections have been around in popular music since 1959 - give or take a year or two. Ray Charles’ song ‘What’d I Say’ is generally credited as the first recorded use of a horn section in pop music. If something has stood the test of time then it makes sense to get in on the action.

Just in case you aren’t aware, I’m not referring to a section of French horns like you have in an orchestra - however awesome the sound - I’m referring to the other sort. Horn is a generic term for any brass or woodwind instrument in the popular music world…

In this post I’m going to talk a bit about different horn section set-ups, give you a few examples of horn sections, maybe some songs with horn sections in and a few other useful bits of information.

Generally speaking, if you play trumpet you will know someone who plays sax and someone who plays trombone - get in touch with them and get practicing together. Here’s why:

Horn sections come in different shapes and sizes and can look like any of the following:

1-Horn:

Saxophone (normally Alto but could be Tenor)

Trumpet

2-Horn

Trumpet and Saxophone (could be either Alto or Tenor)

2 Saxophones (normally an Alto and a Tenor)

2 Trumpets (not the most common although I have played in a 2 Trumpet section when I worked with the rapper E.N.V.)

3-Horn

Trumpet, Saxophone (Alto or Tenor), Trombone - this is the standard 3-horn line up.

2 Saxophones (Alto/Tenor, Tenor/Bari or, the less common Alto/Bari), Trumpet

3 Saxophones (A/T/B, A/A/T)

There are other 3-horn combos but these are the 3 most common.

4-horn

By the time you get to 4 horns it can be any combination of trumpets, saxophones and trombones. My favourite is trumpet, alto sax, tenor sax and trombone with 2 trumpets, tenor sax and trombone a close second.

Within these groups I would expect the trumpet to double flugel (which 99% do) and saxophone to double flute, possibly clarinet but I’ve never seen it in a pop setting.

If you want to have a look and listen to some horn sections check out:

The Killer Horns

Blackjack Horns

The Air Horns

Komodo Horns

The Horny J’s

The Regiment Horns

The Muscle Shoals Horns

The Phantom Horns

These are just a few but a bit of an internet search should turn up some more….

Once you start working as a section, you will probably definitely need to start doing some arranging. If you are doing standard charts there are plenty of sources, free and paid, of horn charts of differing qualities which, again, an internet search will turn up. You can use your own judgement on how good the charts are…

If you’re new to arranging then you need to check out the following books:

Stickley, F., Jazz & Rock & Roll Horns - an e-book with written and audio/visual examples. It’s a bit of a quick start guide rather than an encyclopaedia but it’s a great starting point.

Runswick, D., Rock, Jazz and Pop Arranging - not horn specific but, nonetheless, a great resource focusing on popular genres.

Gates, J., Arranging for Horns - published by Berklee, this is my favourite on the list, it’s not perfect but it’s got good examples and is more in-depth than the others.

Of course, the other way to learn about arranging for horn section is to listen, listen and listen some more. Horn sections play various roles in songs so try and cover as much as you can. I’ve played on tracks where the horns have been part of the ‘ambiance’ and not really heard in the mix, tracks where we played pads (long notes) and stabs (short notes) or a mix of both, and tracks where we’ve had solos or a horn soli (think Sir Duke). Once you’ve listened to examples of all three you’ll have a better idea of what the horns can do to a song, how they can elevate it. Hal Leonard have released a series of Transcribed Horn books so you can follow the charts through, see how they’re written and how they fit. There’s 5 in all - Jazz/Pop, Jazz/Rock, R&B, Pop Hits and Pop/Rock - with 15 songs in each to keep you occupied for a while.

If you want to think about exploring working in a horn section but you’re not sure where to start or what to do, Rockschool now offer horn section grades 1-8 with repertoire suitable for each level - all the info is on the Rockschool website but I believe it’s the same rep for all three instruments so you can play together with the backing tracks.

I’ll finish off by telling you a little bit about my horn section. Called The In-House Horns, because we specialise in remote recording (although we do live performance and studio recording), we formed in 2011. We have played on a number of tracks and albums including a UK Top 10, appeared in music videos and live on stage. Officially there’s 3 of us but actually there’s been 6 of us in various forms over the years, all of us multi-instrumentalists. Roughly speaking we have 2 trumpets/flugels, 2 reeds, 2 trombones/tuba but us brassers can actually play all brass and, as a section, we can cover pretty much everything. Versatility is key to a good horn section!

Hopefully, this little bit of generic advice has piqued your interest and has maybe encouraged you to think about starting your own horn section…

[epacer]

Story You May Have Missed

How San Diego Unified music programs do so much with so little

San Diego Reader

By David Good

August 28, 2013

‘They shut down the music program here in 2000.” Emily Gray is Crawford High School’s new music teacher. She was hired to restart the music program. “At the beginning of the year, we had no instruments. So I taught the students about music theory. I taught them how to read notes. Then, when some money was freed up, we got recorders [those little plastic whistle-like things]. At one point, I had 70 recorders all at one time in class. I thought my ears were gonna explode.”

In the band room, there are a dozen music stands of every description and a few chairs arranged in a semicircle. The instrument lockers hang open and empty. The classroom looks as if it’s been pilfered, and in a way, it was. “The instruments went away to La Jolla High School in 2000,” says Gray.

Emily Gray was hired to restart the music program at Crawford High School.

Crawford can only afford to pay Gray for 67 percent of her time. (The remaining 33 percent of her work week is spent teaching music at Lincoln High School.) Gray says her beginning band class is restricted to sharing those recorders, but the 16 students enrolled in intermediate band class have the use of whatever conventional instruments she’s been able to cobble together via donations.

“Two flutes, three clarinets, three alto saxes, two tenor saxes, three trumpets, some percussion, and a trombone.” The trombone is made from PVC, the same material used for irrigation pipes. Plastic, not brass. “They only cost 150 bucks,” Gray says, “and they sound great.”

In March, the San Diego Unified School District, of which Crawford is a part, received a Best Communities in Music Education Award; as such, it was named one of the best places in the country to get a music education. Other school districts across the country — 306 of them — likewise received a Best Communities in Music Education Award, bestowed by the National Association of Music Merchants in Carlsbad. The winners were selected from a pool of over 2000 applicants.

The award was established in 1999 to recognize schools for keeping music alive in their curriculums. Winners are culled from surveys designed to measure things like fundraising, instruction time, and facilities. School districts reaching the 80th percentile and above are deemed winners.

According to the association, areas in which the San Diego Unified School District especially stood out included budgetary commitment to music, opportunities to learn music, the presence of certificated music teachers, adherence to state and national standards, types of musical experiences offered, and opportunities for performance and competition.

Not everybody involved in the business of music education in San Diego agrees.

“When we heard about the award, we said, ‘How could this happen?’” Mitchell Way is director of instrumental music at Helix High School in La Mesa, in the neighboring Grossmont Union High School District. “I get frustrated when I hear stuff like this. The days of having to do music as an elective? They’re over. San Diego may have a good elementary school music program, but most students don’t have anywhere to go after that.”

Michael Benge is associate music director at Helix. “What standard are they using for comparison? When you look at some of the great programs in the Midwest or back east, we don’t even come close. Maybe Poway or North County does, but not San Diego. Did they [SDUSD] get that award just because they exist?”

Mitchell Way: “There’s only one great [school music] program in San Diego, and that’s Mira Mesa.” Why? Mira Mesa, he explains, has a couple of full-time instructors and offers a variety of music classes.

Benge thinks the Music Merchants award may foster a potentially damaging illusion: “If people think San Diego is one of the best places in the nation for music education, then that tells everybody that we must be getting enough funding. And that’s not true.”

“Next year, we’ll have music in every single school except Kearny.” Karen Childress-Evans is director of visual and performing arts for the San Diego Unified School District. Why not Kearny? “Because there’s no money for a teacher,” she says. “[My budget] is cut all the time. I’m just below bare bones. They talk about bare bones, but they’ve amputated legs here.”

Emily Gray: “Last year we had a budget of about $2000 from the school administration and various monetary donations from alumni and other donors. For the coming two years I was given about $5000 to spend on supplies.”

The Helix High School music program survives on fundraising efforts and donations. “We can only spend what we bring in,” says Helix Instrumental Music Association President Mike Reed. He says they collected $83,000 last year and spent $86,000. “We have a tiny cash reserve.”

Childress-Evans explains that school music budgets traditionally come from several sources: ASB fundraisers, unrestricted funding that each [campus] receives from the district, grants, and donations. “Most budgets depend on donations these days, since the district is just beginning to recover from the California educational-budget crises. Every school is different. For instance, Hoover High School receives significant funding from Price Charities, while Mira Mesa High School does a lot of fundraising. Each school’s principal is the one who determines how much money will be spent on all arts programs.”

Still, Childress-Evans is good with the recognition. “It’s not that we have all the answers and that we rock. It’s that we’ve been able to do things other districts can’t do. We are the second-largest district in California, and that looks a lot different than districts with only two elementary schools.”

She also points out that hundreds of those same NAMM awards are given each year, but that the San Diego Unified School District was the sole recipient of the Kennedy Center for the Arts and the National School Board Association Award for Arts Education in 2011. “What they said to me was this: they had no idea how we did so much with so little.”

Would Emily Gray agree that San Diego’s music programs are all over the board? “Yes.” But she says there are programs in worse condition than Crawford’s. “And Mira Mesa,” which she agrees has the best program, “started off the same way. In the beginning they had nothing.” Gray, 24, is a Mira Mesa graduate. “They’ve been steadily building it up for several years. The demographics helped. A lot of the parents there wanted their kids to have a music program.” Mira Mesa declined to release their music-budget figures.

Crawford’s music program, once lauded for producing national-level talent — Nathan East (who played with Whitney Houston, Eric Clapton); Hollis Gentry (Larry Carlton, Fattburger); Carl Evans (Fattburger); jazz bassist Gunnar Biggs; pop star Stephen Bishop; and more. (In the spirit of full disclosure, the author is also a Crawford alumnus) — is again showing small signs of life. “Next fall, I’m 99 percent sure that we’ll offer intermediate band for the whole year, choir for one semester, and orchestra for one semester.”

Meanwhile, that recorder class, a baker’s dozen of Mexican-American, Vietnamese, and Somali students, has received its own, much tastier award. “I told them that if they all got to page 31 in the lesson book, I’d bake them a cake.” Did they make it? “Yes. I baked them two cakes from scratch: red velvet and chocolate.”

[grit-and-glamour]

Who was/is Sonny Burgess ?

Sonny Burgess: The Classic Recordings 1956-1959

Out to the dancehall Cut a little rug We're runnin' like wildfire And hittin' that jug.. A cursory listen to some of Sonny Burgess's records suggests a life lived close to the edge - nights spent playing gin mills followed by drunken chases down dirt roads, firing off bottle rockets and puking over the neighbour's car at dawn. In person, though, Burgess is a somewhat shy and self-effacing family man. The occasional comment will hint at more turbulent waters but he hasn't lived the life one might anticipate from some of his lyrics, which is just as well, otherwise there might not be a Sonny Burgess to talk to. When Sun's crop of rockabilly singers forsook the shaking music they usually reverted back to their first love - country music.

Sonny Burgess was the exception. His passion was Rhythm & Blues. He had a true R&B voice like a tenor sax in full cry. It was short on subtlety and delicate shadings - but a magnificent rock & roll instrument. Soon after he quit the music business, Burgess took a salesman's job in a store, and still talks with enthusiasm of an old black guy who used to bring in his guitar, and play loping Jimmy Reed riffs. Sonny would sit and jam with him. Perhaps a blues album is the great Sonny Burgess album that has yet to be made. Born near Newport, Arkansas on May 28, 1931, Albert ‘Sonny' Burgess grew up on a farm, and developed his musical tastes listening to the Grand Ole Opry and the Memphis country stations, taking in R&B from WLAC in Nashville and WDIA in Memphis along the way.

Sonny Burgess did his hitch the Army, and returned to Newport with the thought of a career in baseball, or -failing that- farming. He worked for a spell in a box factory, and slowly put together a semi-pro band that went under several names and through several incarnations, eventually calling themselves the Moonlighters. He was back working on the farm when, as he put it, "farming started interfering with my music." In an early version of the group, Sonny Burgess was the guitarist, Paul Whaley handled the vocals in a Hank Thompson style, Kern Kennedy played piano, Russ Smith was on drums, Johnny Ray Hubbard played bass, and Bob Armstrong handled the accordion. After Whaley went back to California, Sonny Burgess took over the vocals, and Armstrong eventally quit.

There was no shortage of venues because Newport in Jackson County permitted liquor to be sold but was surrounded by dry counties; hence a number of nightclubs out of proportion with Newport's population. They played local nightspots like the Silver Moon, Bob King's and Mike's club. They often played at King's on Friday night; Saturday night belonged to Punky Coldwell, a saxophonist who led a racially mixed jazz dance band. When Elvis Presley came to the Silver Moon Club in October 1955, Sonny Burgess organised the supporting act, and put together Newport's version of a supergroup combining some of Punky's men and the Moonlighters. According to Sonny Burgess, Elvis tried to hire Punky and Kern Kennedy that night to flesh out the meagre sound of Scotty and Bill.

Also, according to Sonny Burgess, Elvis got the idea to record One Night from the Pacers, who often performed it as much as five times a night. For his part, Elvis's contribution to Sonny Burgess's career was to implant the idea of going to record at Sun. At some point early in 1956, the Moonlighters went to Sun for an audition. Sam Phillips told them that they needed a fuller sound so Burgess joined forces with Jack Nance and Joe Lewis who had another local band. It was Lewis who came up with the name 'Pacers' for the new group, copping it from the Pacer airplane. Both Smith and Nance played drums so Nance (who was a music major in college) switched to his other instrument, trumpet. Sonny Burgess had originally wanted a saxophone player to emulate Punky Coldwell, but he figured that the trumpet gave the Pacers a little different sound. On May 2, 1956 Burgess drove back to Memphis. Phillips was impressed with the revamped line-up and cut their debut single that afternoon.

We Wanna Boogie and Red Headed Woman stand among the rawest recordings released during the first flowering of rock ‘n’ roll. The lyrics were almost unintelligible (although they repay close attention with some very funny couplets), and the instrumentation teetered on the edge of atonality. It was a record that sported an air of total abandon, sounding as if it had been created under the heavy burden of alcohol, although Sonny Burgess remembers that everyone was stone cold sober, and nervous to the point of apprehension. Despite being almost unmarketable according to established precepts, Red Headed Woman reportedly sold over 90,000 copies. It did especially well in Boston, although Burgess was unaware of that fact until Nance and Lewis toured there a few years later with Conway Twitty. At that time the Pacers were managed by Gerald Grojean, the assistant manager of a local radio station, KNBY.

On one of their early trips to Memphis, the Pacers went to see Bob Neal, who held the promise of broader horizons and promised to get them on tour with Presley. "We come back home," remembered Sonny Burgess, “and about a year later we hadn't heard nothing so we went back and saw him again. He said that Gerry Grojean had got on the phone crying, saying ‘You can't take them away from me'. Bob said he didn't need all that crap and told Gerry he could keep us." Grojean, who knew little more about the business than the Pacers themselves had no idea how to expose the group outside Newport during a critical stage in their career.

[sheetmusiclibrarypdf]

Nat King Cole - Easy Listenin' Blues (piano sheet music)

Nat King Cole - Easy Listenin' Blues (piano sheet music)

https://dai.ly/x8hfee0

Nat King Cole

(Nathaniel Adams Cole; Montgomery, 1919 - Santa Monica, 1965) American singer. The son of a Baptist minister, he grew up in the city of Chicago, where he studied piano. His first recordings date from 1936, still as a jazz pianist with the King Cole Trio, a group that achieved some fame in the forties and with which he anticipated some aspects of Charlie Parker's bebop. His solo career began in 1948, when the formation was dissolved. Difficult to place in a specific style, Nat King Cole played various styles of music and, following a trip to South America in which he collected different musical influences in different languages, he added Latin songs to his repertoire. The list of songs that he came to popularize, both in the United States and in Latin America and Europe, is endless. His last success was the most curious, a 'remaster' of the song Unforgettable in a duet with his daughter Nathalie when he had already died. In addition to the aforementioned, songs like Nature boy, Mona Lisa, Perhaps, perhaps, perhaps and Anxiety are part of his most celebrated albums. The North American musical magazine 'Metronome' was published from 1881 to 1961. In the period between 1929-1961, it carried out an annual survey among its readers so that they could vote for the musicians they considered best on their different instruments, including singers. In many cases, he organized the 'Metronome All Star Band' in which the musicians who had been chosen participated and recorded two songs. In 1946, Nat King Cole was voted the best pianist, Eddie Safranski, double bassist, Buddy Rich, drummer, Bob Ahern, guitarist, Charlie Shavers, trumpeter, Lawrence Brown, trombonist, Johnny Hodges, alto sax, Coleman Hawkins, tenor sax , Harry Carney, baritone sax, Sy Oliver, arranger, Frank Sinatra, male vocalist and female June Christy. The recording was produced on December 15, 1946, at the Columbia label studios in New York. The songs were 'Nat meets June' and 'Sweet Lorraine' some of Nat Cole's hits. This time it was sung by Fran Sinatra. In late 1951, Nat King Cole broke up his trio and became a Sinatra-esque crooner. Great orchestras, great arrangers, great success, great wads of dollar bills… Nat King Cole became one of the greatest singers to be found on that fuzzy line between jazz and pop music. The name of Nat King Cole was known internationally, and he also managed to be admired and loved by thousands of fans. Not to mention the following he gained when he performed popular Hispanic songs sung in Spanish. In 1955, Nat King Cole surprised us with seven recording sessions in which he recorded 28 songs playing exclusively on the piano and surrounded by the orchestras and arrangers that he had at his disposal whenever he sang. The jazz pianist who remained somewhat asleep inside him came out again, how could it be otherwise. On July 11, 1955, Nat Cole with the arrangements and the Nelson Riddle orchestra recorded three songs, including the titled 'Taking a chance of love', a standard composed by Vernon Duke with lyrics by Ted Fetter and John Latouche in 1949. If in the credits of a record you see that the pianist's name is Aye Guy or Shorty Nadine, these two names are two pseudonyms that Nat King Cole used to play with his friends when they asked him to, but for contractual reasons he had to hide. Read the full article

[blingbanana]

The martin saxophone serial numbers

#THE MARTIN SAXOPHONE SERIAL NUMBERS SERIAL NUMBERS#

#THE MARTIN SAXOPHONE SERIAL NUMBERS SERIAL NUMBER#

#THE MARTIN SAXOPHONE SERIAL NUMBERS SERIES#

Serial numbers can be used to identify supposedly better instruments. So saxophones may not be numbered sequentially. Again you may discover that the vendor has simply called a Martin stencil a Conn. There may be missing features, but the proportions and 95% of the mechanics of the horn will be the same. If the horn in question is supposed to be a stencil of one of those, Google until you find sites with good examples and a lot of photos, and compare those to the sax in question. US Stencils: The most common versions of most Conn, Martin, and Buescher vintage saxophones are well represented on the Intenet.

#THE MARTIN SAXOPHONE SERIAL NUMBERS SERIAL NUMBER#

Here is an early Malerne stencil called Airflow with serial number 2011.

#THE MARTIN SAXOPHONE SERIAL NUMBERS SERIAL NUMBERS#

Speaking of serial numbers most stencils did not follow the parent companies serial number range so it. Tone hole construction, G# key cluster design, key guard design, key layout, octave mechanism type, serial number markings and more. There are many ways to tell if a saxophone was produced by a certain company. Some of these companies were purchased in time and became stencils themselves. The major saxophone companies that made stencils were Conn, Buescher, Martin.It was not at all uncommon for a company to source horns from. There are plenty more out there that do not appear on this list because I am unsure of their origin. There is almost no information available on Asian made stencils. These horns are NOT the same as the manufacturer's house brand and do NOT follow the same serial number sequence. The identity of the true maker is often impossible to trace, but here are a few of the most commonly seen stencils and their true identity.Vintage bronze lacquer, Conn's own stencil, great sax ! Curved (tenor style) neck: Perfection / Bruno : also seen as Perfakten / Perfacktone, on other saxes as well: Selmer American - New York: Conn stencil, has 'mercedes' low C guard : Silva-Lae / Naujoks McLaughlin - who also made a great 'silver-lay' C. Manufacturers, models - stencils and serial numbers ' Martin Handcraft ' 1931.Characaristics: nailefile G# cluster, rolled tone holes and most of the time microtuner necks on the altos

#THE MARTIN SAXOPHONE SERIAL NUMBERS SERIES#

The Chu Berry horns where the New Wonder Series II ca.

Re: Conn Stencil - What year, model? Nope, no Chu Berry.

According to a Conn s/n chart, 52,000 was made in 1919) and appears to be at least 200,000 off for LH bell key horns

Stencil serial numbers starting with a P APPEAR to be +50,000 off on the Conn serial number chart for split bell key horns (i.e.

Home Conn stencil saxophone serial numbers Video: Conn Names, Letters and Numbers - The Vintage Saxophone Conn Stencil - What year, model? Forums Saxophone

[yapzone]

for the band kids thing, can you do Kris, Berdly, Noelle and Susie from Deltarune?

hell yes i love deltarune also im adding ralsei

they are all 11th graders in this

kris - tenor sax. they're somehow eccentric but also incredibly chill and thats the embodiment of a saxophone. pretty average player and solid marcher, and hey. they might end up being a section leader. i feel like in the game they would also be a theater kid despite being a silent protagonist, it'd be really funny.

susie - shes too chaotic to be doing anything other than drumline. definitely plays way too loud and doesnt listen when shes told this, but otherwise shes a suprisingly good marcher. she's probably banned from helping to load/unload the trailer.

ralsei - i can see him being a marimba for front ensemble, and i wouldnt be surprised if he was a section leader. he definitely brings in decorations for the pit instruments when there are games. very good player, but if he was marching he wouldnt be very good at it.

berdly - dont tell me that the egotistical and competitive guy isnt a trumpet. (i say as a trumpet.) has a great range and is definitely more of a jazz player than a marching band guy (he's just okay at marching). he wants to be a section leader and he wants solos. also he was definitely a former strings kid.

noelle - she's pretty easy, i think she's a flute. they tend to be pretty normal relative to other band kids. i think she'd jump up to piccolo given the option, but shes definitely not planning to be a section leader. i can see her doing guard down the line, but for now she's very much a flute.

[opalsoap]

So I've been thinking about it and have this au-

It's like a jjk marching band au bc why not

Anyway these are what I think the cast would play or do

Yuji

Bari sax Yuji or trumpet Yuji, idk, I'll let yall think about that one-

Megumi

Clarinet, suits him well

Nobara

Color guard,, uhh maybe a baritone or french horn

Maki

P,,,percussionist Maki,,

Toge

Trombone player, he's so cute

Yuuta

I juggled my options a lot on my boy, and I think he'd be great as a clarinet player

Panda

Tuba tuba tuba-

Kirara

Another percussionist tbh

Hakari

Either he joins Kirara and Maki on the percussion stuff or he's a trumpet

Mai

This girl would do anything opposite of her sister in band, she prolly chose to play the flute

Kokichi

Bass clarinet bc they (from my experiences) always get along w bassoon people

Miwa

SHE REMINDS ME OF A BASSOON PLAYER I USED TO KNOW SO IM GONNA PROJECT THAT ON HER, def a color guard too

Noritoshi

Oboe bc he also reminds me of an oboe player I know, during marching season, he's prolly on a flute

Aoi

He's prolly a trumpet or tuba player

Momo

Wherever Mai goes, she does too, prolly a flute, usually piccolo too, also a color guard

Gojo

He's the current director, used to play trombone, can't see him with another instrument-

Utahime

Assistant band director, definitely played flute before

Mei Mei

Clarinet when she was in Yaga's band, she prolly still plays while she's older, her brother also took after her, also that one person who knew how to play piano

Shoko

She doesn't do much anymore, but before, she was a saxophone player in Yaga's band, imagine how hot-

Getou

He gives me french horn vibes bc the ones I know remind me of past Getou

Ijichi

He seems like an Oboe dude ngl

Akari

Another one on the sax, dont know which tho, prolly alto

Yaga

Was the past band director when the other staff were students, idk seems like a uhhh baritone player maybe

And because I said so :')

Tsumiki

She gives off lots of flute energy to me

Rika

This cutie is probably a clarinet with her childhood bf

Junpei

Color guard Junpei doesn't sound so bad tbh, plays tenor sax during concert season

Those are my hcs- uhh if anyone is a musical person or wants to share their opinions, go ahead

[dustedmagazine]

Hal Russell & Joel Futterman — The Chicago River (Fundacja Sluchaj)

The Chicago River (3CDs box) by Hal Russell & Joel Futterman

Disasters inspire creativity. This author once heard a story from someone who worked in the image archive of the Chicago Historical Society that they frequently fielded requests for video footage of the Great Chicago Fire of 1871. Instead of explaining the history of motion picture technology to these callers, the storyteller informed them that all the videos got burned up in the fire. And how about the Great Chicago Flood? While it commenced on April 13 1992, you are no more likely to find images of water cascading down State Street than you are to find film depicting the fire’s progress along that same thoroughfare. That’s because nearly the whole event transpired in basements after a construction crew breached an old freight tunnel situated beneath the river. All you’ll find is footage of people strolling past closed businesses and empty streets, or maybe the flashing lights of the police cars that escorted the specially mixed cement that was used to plug the hole.

Hal Russell and Joel Futterman set up this two-night gig at Southend Music Works, a venue located at the southern end of downtown, before the flood took place. They did not originally plan to memorialize an underwhelming catastrophe when they booked themselves into. But Russell had showbiz in his blood and both men nurtured improvisation in their souls, so they wasn’t about to blow an opportunity. When they convened on April 24 and 25, Russell read some Philip Egert poems about the Chicago River and life in the city, which framed the shows as comments upon the catastrophe. The Chicago River is an archival release that contains recordings of both nights, spread across three CDs, presented in the order it was performed. This all-in presentation, as much as the surging performances themselves, presents a work more epic than the event after which it was named. 

Futterman, who is still active with William Parker and Chad Fowler, among others, is best known as a pianist, but he also plays curved soprano sax, Indian flute, and percussion. Russell, who had a road to Damascus experience with the music of Albert Ayler in mid-life after decades of playing jazz, dinner theater, and anything else that paid the bills, played tenor and soprano saxophones, trumpet, and drums. Both players bring distinct voices to their various instruments, and their multi-instrumentalism ensures variety and dynamics. The music’s density changes drastically when Futterman switches from piano, which he plays with a full-on virtuosity that blasts keyboard-spanning cascades through spontaneously conceived structures, to sax, which he plays with the bluntly pitch of a striking worker’s protest sign. Russell is a bit of a free jazz fundamentalist. On tenor, his broad vibrato and coarse tone recalls Albert Ayler, and his punchy, skittering trumpeting recalls Albert’s brother Don. His drumming, while steeped in jazz fundamentals, is as loose and freewheeling as Sunny Murray’s. His reading has a sardonic quality that mixes film noir voice-over with old-fashioned stagecraft. The duo’s energy easily bridges any gaps presented by indifferent recording quality. Each disc is divided into two parts, which range in length from 13 to 48 minutes, which serves notice that this is not casual music, and that the listener music agree to immersion. But be careful when you jump in; those old freight tunnels are not that deep. 

Bill Meyer

[finmoryo]

MDZS Marching Band HCs

So I’m a former high school marching band member. Will hopefully be in college marching band. I play clarinet, so this will probably be woodwind biased. Not sorry. Without further ado, here is what section I believe fits each character best. I do this for every single fandom I’ve ever been in.

Wei Wuxian - I know the obvious answer is flute, but I think I’m going to say color guard. He’s dramatic and talented. Yeah, he’d probably hit himself and Jiang Cheng with a flag a couple times, but he’d get pretty good at it quickly.

Jiang Cheng - Trumpet. Do I really have to explain this one? 

Jiang Yanli - Is not actually in band. Comes to support her siblings and volunteers at every event.

Nie Huaisang - Alto sax. The vibes feel right to me, and I can’t see him playing anything larger.

Lan Wangji - Clarinet. It’s an instrument that requires precision and skill. I feel like he’d be a master at scales and playing really fast. Great tone quality in the altissimo range too. Definitely made some honor bands.

Lan Xichen - Flute. Not the obnoxious flute player that plays high notes to annoy everyone. He’s quite a kind leader of the flute section.

Nie Mingjue - One of the larger brass instruments. Baritone, I’d say. He’s pretty intimidating.

Jin Guangyao - Tenor sax. A sneaky bastard instrument that I can’t play because I’m too small.

Jin Zixuan - Mellophone vibes. Plays it quietly and the tone is all gross unless he’s performing for an audience.

Wen Ning - Front ensemble. I don’t see him as the marching type, but he’d have fun with all the percussion up front.

Wen Qing - Clarinet. She’s a little bossy and mean, but who wouldn’t be if they could play with such an incredible range on the clarinet?

Mo Xuanyu - Bass clarinet. I don’t know why.

Jin Ling - Trumpet. All the yellow he wears matches the instrument. He’s Jiang Cheng’s nephew, of course he’s meant to play trumpet.

Lan Sizhui - Plays clarinet like Lan Wangji, who taught him.

Lan Jingyi - Trombone. He likes to use the slide as a weapon, despite constant warnings against this.

Lan Qiren - Tired, strict band director.

[edengarden]

BNHA CONCERT BAND AU BC IM A NERD

IF YOU HAVE ANY QUESTIONS OR REQUESTS OR HEADCANONS AKSJHD PLS ASK ME I LOVE BAND I LOVE MUSIC AND I LOVE THIS-

Izuku Midoriya:

Boy definitely plays a wind instrument. I’m assigning him clarinet

Wants to be first chair so bad, he practices so freaking much I swear

ALWAYS. IN. A. BAND. ROOM. with Iida and Uraraka. They’re always practicing

He’s so confused with music theory, please help him. He just,, WHY is it minor?? WHY IS THERE A SOLO WITH NOTHING WRITTEN?? WHAT DO YOU MEAN HE HAS TO IMPROVISE WITH THE CHORDS WRITTEN OVER THE BARS-

Ochako Uraraka:

ALTO SAXOPHONE-

She’s also comfortable enough to play 2nd or 3rd clarinet if needed, or even soprano saxophone

Doesn’t have her own instrument, she borrows from the school and she HATES the reeds, they’re crap. When someone gives her a good reed, she CHERISHES it.

In jazz band also! With the same instrument, but she doesn’t feel ready for solos so she’s usually 2nd or 3rd. Bro when she has to switch from swing to straight she ALWAYS forgets and it’s the band’s downfall.

Tenya Iida:

TRUMPET TRUMPET TRUMPET TRU-

And he’s one of THOSE trumpet players, by the way.

“Sir the French horns aren’t tuned” yeah, he has perfect pitch

Literally plays flight of the bumblebee as warm up. Or has his own warm up scales. Never practices right before practice though, he thinks it’s “too late” for that

Has his own trumpet, it’s silver with hints of gold/brass. Takes care of it RELIGIOUSLY.

He HATES having to blow out spit onto the floor, but dude what other choice do you have??

Momo Yaoyorozu:

Sweet angel 🥺🥺 she’s an oboe player

Definitely bought her own instrument

Sight reading MASTER. she instantly gets the key bro, it’s so rare that she forgets an incidental

Definitely leads sectionals all the time. And she does it WELL.

When people (*COUGH* BASSES*cough*) slowdown, she’ll sway to the beat in hopes that they’ll follow her

Kyoka Jirou:

Electric bass or contrabass, give her either and she’s good to go dude.

Also has perfect pitch and knows her music theory WAY more than a high school student should know. She’s a genius.

Her warm ups? Jam sessions with Hanta and Todoroki. She just shouts a key and they go. It’s usually jazz, she plays a pretty constant pattern, Todoroki tries to improvise but hanta takes over pretty quick-

Definitely in jazz band as well. Also in a school competition band (like singer and stuff), also a one-woman-band. She’s in so many bands dude.

Shouto Todoroki:

TENOR SAXOPHONE

Also has a background in flute bc his parents wanted him to have ~versatility~

Knows all the theory in his head, like he knows what’s going on, he just doesn’t know how to explain it

*false note* “sorry my instrument isn’t warmed up, it’s probably my reed”

Has plastic reeds. And reeds ESPECIALLY for jazz.

Oh yeah he’s in jazz band! Loves that he’s like, the only tenor saxophone so he gets all the solos

Rikidou Satou:

TUBA PLAYER IN DA HOUUUSSEEE

Buddy actually brings the tuba home to practice, he drags that thing AROUND.

Always. Slows. Down. But no one knows it’s his fault most of the time, they blame Sero-

Firmly believes in the “basses are the foundation of the orchestra” mindset, he’s so proud to be a bass

Kouji Kouda:

Soprano Saxophone, but can also handle clarinet if the need comes (he just loves the sound of soprano sax you guys)

DEFINITELY in jazz band, but as a Tenor Sax 2 bc he knows if he went as a soprano sax he probably would’ve gotten solos

Is it Momo’s oboe?? Is it Kouda’s soprano sax?? No one knows the different except those two and Jirou

Plays Shostakovich’s jazz suite no. 2 as a warm up

DEFINITELY A SWAYER. He just gets into the mood of the music and SWAYS.

Tooru Hagakure:

Flautist!! She chose it as an 11 y/o bc it was a girly instrument but she really likes it lol

A mediocre player, she spends most of warm up with Mina tho, she thinks that she’ll get to warm up when she’s playing bc I mean— no one hears the flutes

Wanted to main the picolo for the sole purpose that it’s an Ear Destroyer. Aizawa heard the mischief in her voice and said no.

Sight reading?? What’s that?? She has no idea what’s going on, she just pretends to play and when she’s comfortable with the melody, she’ll just step in. NEVER notices key changes and signatures.

Yuuga Aoyama:

LASKHDSJ FLAUTIST!! Also clarinetist. He loves being able to stay where he is during practice even though he changes instruments it’s sort of funny

His cheeks get SO SORE when he plays clarinet though and he WILL complain.

“My flute is so heavy!” Kind of guy.

Definitely has his own instruments and takes GREAT care of them.

Wetting his reed with his saliva?? No, he plops it in a glass of water instead (the reeds are definitely his own, and expensive)

Tsuyu Asui:

Trombone gang bro.

Positions are burnt into her brain dude she’ll never go out of tune.

SO SMOOTH. SOOOO SMOOO- dude she plays so well?? It’s never spitty, but during jazz (yes she’s in jazz), if it’s a moody piece she KNOWS how to make it juuussssttt airy enough to be beautiful

Not that good with fast songs, but she makes up for her amazing ass vibrato and her range. GOD-LIKE RANGE.

Mashirao Ojirou:

FRENCH HORN!!!

Omg he plays like a king. And he’s so proud of being the ONLY one playing French horn, but there is PRESSURE, because a French horn is rlly tricky to tune dude. Have you SEEN it??

Always keeps his mouthpiece with him, as if he’s afraid someone will play his instrument?? Like no dude it’s good in it’s case but you do you I guess

He doesn’t stand out that much, but in the majestic pieces where he has a 5 measure solo?? He gives it his all and he pulls it OFF. Those moments are always the highlight of the piece

Mezou Shouji:

Bass clarinet!!

Once he managed to growl through bass clarinet and literally ALL the saxophone players were jealous AS FUCK

Buddy goes to a low E♭ like it’s nothing?? And then he goes up to like a high high C and you’re sitting there like THE FUCKING RANGE-

His warmups are like, quick scales and arpeggios. Bro he’s so steady when he plays and he could play for HOURS. Sore cheeks?? Don’t know her.

He so proud of being a bass clarinetist, but when he saw an octobass clarinet?? Aizawa better order one of those for him RIGHT. NOW.

Fumikage Tokoyami:

Baritone saxophone. Also lowkey really wants to learn bassoon because it’s such an old instrument

SKSKS he and Shouji sit next to each other, Tokoyami loves to read off of Shouji’s partition and create the WORST fourths you’ll ever hear. Even Midoriya told them to shut the fuck up once

In jazz band too!! Still plays bari sax

Such,, a good,, sound. So,, meaty,, and full,, and HOT. Bari sax is HOT!!

Plays moanin’s intro as a warm up. Search up the song. It’s bomb.

He loves to figure out new sounds with his bari sax. The Too Many Zooz type of sounds

Hitoshi Shinsou:

PERCUSSIONIST. Especially loves the bells, timpani, vibraphone and marimba.

He’s in the back judging EVERYONE. It’s so great for him, he gets to stand there and cringe and no one will know

Totally able to play 4 mallets like the king he is

Surprisingly enough, he’s rlly good in music theory. Like he could probably compose or transpose something no problem

Aizawa’s favourite, of course. Will ask him to sit in front while they play and circle the parts where he thinks something sounds off

Now that we’ve talked about the NORMAL band kids, I present to you,,, the gremlin band kids

Mina Ashido:

Percussionist as well!! She loves snares but you’ll see her pick up castagnettes even if y’all are playing something like Gymnopédie no. 3 she’s a bit confused but she got the spirit.

CANNOT READ SHEET MUSIC. Like notes?? No. She can do beats, just not notes. Let Shinsou figure out the ancient languages dude

Her and Hagakure don’t warm up, they just gossip together.

Did this to Bakugou more than once

SHE DROPPED SO MUCH EQUIPMENT LIKE HOW DID SHE NOT BREAK ANYTHING YET??

Denki Kaminari:

TRUMPET.

Buddy AIMS to have his spit land on someone sitting in front of him (rip Todoroki and Uraraka)

Thinks he’s cool because he plays trumpet, but he always loses count. God forbid Iida cant show up to practice because Kaminari will die

“Where are we? What are we doing? Which piece are we doing? Where are we starting?” Oh my god he’s so lost can SOMEONE please help him

Always gets in trouble during band camps dude. He and Sero are the Bad Brass duo

Eijirou Kirishima:

EUPHONIUM BABEY!! He thinks it’s so cool and he’ll get so insulted if someone calls it a “mini tuba”

DONT GIVE HIM SHEET MUSIC IN BASS CLEF HE HATES IT PLS JUST TREBLE CLEF

So!! Protective of his euphonium. His name is Johnny, by the way. He named his instrument.

When they finish practicing a piece, he’s the first to give feedback. Usually it’s good, like praises for classmates he heard and thought were really good!!

He’s so sweet. Willing to help others during practice and sectionals too!! It’s so sad that he’s literally on the other side of the room bc KAMINARI NEEDS HIS HELP-

Katsuki Bakugou:

Hehehe he’s a flautist. I’ve stood by this headcanon for like two years.

And he wants to be THE BEST. You never knew growling could be done through a flute until you met Bakugou.

CANNOT STAND slow pieces. He wants to go all out all the time, he always speeds up when the tempo’s slow.

Also in jazz band with what? Flute. Yeah, this is George Benson Time.

Will hit you with his flute if you ever think badly of him for playing flute. He’ll defend flute ‘till he dies.

Hanta Sero:

TROMBONIST!!! TROMBONE BABEY.

Will be so happy if he’s in charge of bass trombone?? Like yay??

Always wants to hit Bakugou’s head while playing.

Bro his playing style?? You know the like, lazy-ish trombone playing? But it’s just so full and smooth and heavy anyways? That type of shit.

In jazz band, he’s actually a natural at jazz, doesn’t practice that much so he’s like not even in a good position, buddy just slouches and sight reads.

I love Hanta sm guys I could talk abt trombonist!Hanta forever