He signs a contract with association “Brussels 2000” for the realisation of the first prototype of his new instrument in July 1999 and has worked on this project until the Paris creation in October 2002.In 2003 FL realises the modelisation of the Aulochrome with the Designer-Engineer François Decorte. That mouthpiece played great. Joe Lovano said, that he uses a handmade wooden mouthpiece by Francois Louis. These newer horns are made like an older horn with handmade, hand-pounded brass but with modern mechanisms. The mouthpiece itself is made from Granidillo wood, which is a hard African wood. When appropriate, these musicians are quoted and name-checked inside the article itself!Jazzfuel is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to Amazon.Join the mailing list for tools, resources & ideas - Join the Jazzfuel newsletter and get the free PDF in your inbox todayJoin the Jazzfuel newsletter and get the free PDF in your inbox todayJoin the Jazzfuel newsletter and get the free PDF in your inbox todayJoin the Jazzfuel newsletter and get the free PDF in your inbox todayCAÑAS SAXOFON ALTO - Vandoren V16 (Caja Verde Oscuro) (Dureza 3 ½) (Caja de 10 Unidades)CAÑAS SAXOFON ALTO - Vandoren V16 (Caja Verde Oscuro) (Dureza 3 ½) (Caja de 10 Unidades)10 of The Best Bebop Artists & Albums in Jazz HistoryEssential Listening: Some of The Best Jazz Singers in HistoryLooking for ways to grow your career as a jazz musician?
Fron the time I was twelve years old until I was about eighteen, I played on a Berg Larsen 110/2 mouthpiece. 4. We are so happy to have him play Syos! He also had Francois copy a Link he was playing that was a 10 or 10*.He also has an old Selmer "accordian" ligature that really frees up the vibration on the reed. What's it matter in the end? Many years ago, saxophone specialist Tom Alexander had a dream to make a mouthpiece of his own design. Go shed to get a bigger sound :)Razzy, I understand what you are saying, but that still doesn't answer a very interesting question about one of todays most interesting sounds.
I love playing this tenor because it’s made like the earlier horns were, in the style of a Chu Berry Conn tenor, or an early balanced action Selmer, and more reminiscent of King Super 20. To see and hear this instrument is one thing, but to hold it and have it come to life with your breath and ideas, is what the magic of the music is all about.I’ve had the great fortune to see the Aulochrome develop from its birth and dream of the day I can study and develop its unlimited potential with my approach in music. Joe Lovano Whether on Tenor, Alto or Soprano saxophones, playing on my François Louis mouthpiece’s and Ligature’s give me the confidence to execute my ideas throughout my horns with my own personal sound in what ever ensemble setting I find myself in… The quality and craftsmanship in his work is incomparable in todays market place… I played that mouthpoece for three or four years and liked it, but one day when I was getting my horn repaired I saw a 10* Lank at the shop and too kit home. That was about 1975. Every saxophonist knows the importance of a good set up: the right gear can help you realise the sound that you’re striving for.Like most instruments, saxophones are made by a range of manufacturers and all have different characteristics and selling points.When it comes to choosing a mouthpiece and reed, things get even more complicated: a wide versus a narrow tip opening; a hard or a soft reed, and dozens of makes and models to consider.Some saxophonists experiment endlessly with different options in a quest to find the perfect ‘setup’ and sound.And although there’s now more choice than ever before, our favourite players from across the history of jazz wrestled with these questions too.But whilst it’s important to remember that sound and tone ultimately come from the player, not the equipment, it can be really interesting and illuminating to find out what equipment they actually used.Information like this can give an insight into some of the mechanics of how our heroes played their horns, and may also hint at the kind of set up you might like to opt for yourself, depending on how you want to sound and the style that you want to play.So, covering a broad cross section of sounds and approaches, here’s a list of ten great saxophonists, with information on their preferred saxophones, mouthpieces and reeds.Due to his well-documented substance addictions, Parker would often pawn his saxophone, meaning that he frequently ended up playing on a borrowed or cheaply-acquired horn.He is sometimes pictured with a distinctive ivory coloured mouthpiece: that’s a He used very hard 4 strength reeds, although he may have begun using softer reeds in the 1950s.Parker came to prominence before Selmer began to dominate the market, and saxophones he played included a Coltrane achieved his distinctive, harsh-but-beautiful tenor sound with the help of a metal mouthpiece.In his quest for his desired sound, Coltrane apparently had many mouthpieces worked on and altered by Frank Wells, a Chicago-based technician.Modern tenor saxophone titan Redman went the opposite way to John Coltrane and switched from a The Super Balanced Action was Selmer’s flagship horn between 1946 and 1953, and it remains a favourite of vintage sax fans today.Fans would often ask Brecker about his setup, but he was always keen to stress that he wasn’t overly obsessive about equipment, and that players should simply find something that works for them.Webster was a major voice of the swing era and a star of the classic ‘Blanton-Webster’ edition of the Duke Ellington Orchestra.Conn became the first manufacturer to make saxophones in the USA in 1888, and was perhaps the most popular brand prior to the ascendency of Selmer.A number of their ornately engraved models remain popular, although they will feel a little strange to players used to ergonomic modern horns.Meyer continue to make popular and versatile pieces, but their original vintage models are highly sought after and sell for eye-watering sums today.Woods was initially taught by cool jazz guru Lennie Tristano, and was also highly influenced by Charlie Parker.His style was rooted in bebop, but he also did some high profile studio work, contributing a famous pop sax solo to Billy Joel’s ‘An interesting case of a highly respected player swapping a classic vintage horn for a modern saxophone.Now, in collaboration with the Woods estate following his 2015 death, manufacturers Drake have made a mouthpiece apparently based on the exact geometry of his Meyer, which they describe as “Albright is at the smoother, more commercial end of the jazz spectrum, and is another big name who opts for a modern, rather than vintage, saxophone.Although some players appreciate the consistency of synthetic reeds, most high level saxophonists still prefer the sound and feel of cane.Getz was nicknamed ‘The Sound’ for his beautiful, pure tenor tone.
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