Category: Interview

Interview with Dr. Jared Sims by Tim Hecker

Interview by Tim Hecker.

Dr. Jared Sims is the current Director of Jazz at West Virginia University and the former Assistant Director of Jazz at the University of Rhode Island. He performs on all of the saxophones, clarinet and flute, and has recorded with such artists as Bob Brookmeyer, Cecil McBee, the Temptations, the Four Tops and many others. He has both toured internationally and inspired young artists at home as the guest conductor of All State ensembles in multiple states. This week, he was kind enough to take time out of his busy schedule in order to give an interview to jazzbarisax.com. Here’s what he had to say–

I know you play a lot of baritone- in fact, you once told me that you are a bari sax guy at heart. What kindled your fondness for the baritone sax? What keeps you coming back to it?

I like to say that I did not necessarily pick the baritone — the baritone picks me. I like it because it feels natural to me. The other saxes feel great too, but the baritone has always felt normal and in some ways easier for me. I first had the baritone in my hands when I was in the fifth grade. The band teacher tried to slow me down but instead I was playing bari in the high school jazz band by the end of my fifth grade year.

What artists and recordings have influenced you as a saxophonist, especially but not exclusively on baritone? To what degree do those who came before you influence your own recordings?

I really like the fire of Ronnie Cuber and Pepper Adams and the imagination of Sahib Shihab and Cecil Payne. Tradition is very important and to me. I think we have to reference tradition in our playing to add depth to our sound, but we also need to know the tradition in order to find new ways of presenting the music in terms of forms, or harmonies, or phrasing.

What is the first thing you notice when listening to a saxophonist, and what draws you to that element of playing?

I think the sound is the first thing. If the sound is not full or it is out of tune or uncentered, it is really hard to hear. Otherwise, I notice the phrasing and the rhythm of what is being played. In some ways the sound of the instrument is the HARDEST and MOST IMPORTANT thing that we can do on the saxophone but so often students do not make this a primary focus of study.

The classic question- what is your setup, and why is your equipment what it is? Do you think equipment makes a difference, or do you believe that it is all up to the player?

I have two baritone setups and go back and forth between them. One is a silver Buescher True Tone/Big B from the 1930s. It is a strange transitional horn and only about 900 of them were made. The other baritone is a silver Conn Naked Lady from the late 1940s. The mouthpieces that I use are a vintage Berg Larsen and a new Theo Wanne. I use Marca reeds either 2.5 or 3 strength.

I choose a setup based on the gig – the style and what instruments that I need to blend with. I think it’s up the player to live with the setup and not expect the setup to feel good right away. That said, I think players need to experiment a lot with every aspect of the setup — including where the ligature sits on the mouthpiece, the reed placement, etc. At the end of the day, though, yes a great player will sound great playing anything.

Another classic question- what is your practice routine? Do you have any practice rituals specific to bari sax?

My most recent favorite practice routine is to play 20 minutes on each instrument starting with flute, then clarinet, alto, tenor, and then baritone. My entire baritone technique is based on efficiency, which means that the air and the fingers and everything needs to be as perfect as possible to have the right sound and precision. That said, I could pick up a baritone cold without playing a bunch of other small instruments, but it’s good to have a nice long routine to put the air and fingers in the right place.

What are your interests outside of music? Do you find that they influence your playing, and if so in what way?

I really like to travel, to go to art museums, and to be outdoors. These are all things that help to investigate the creative process and to contemplate creativity.

Do you aim for certain qualities in your sound? What do you do to achieve the sound that you want?

I like a FULL sound with all of the different ranges of the sound included. Sometimes, I record myself and listen back to hear the true sound of the instrument. In general, mouthpiece sirens and overtones open up the sound. At this point, I have done a lot of that work so just making music and hearing my sound is enough to center the sound. A lot of musical issues get taken care of by simply having the horn in hand and spending time making music. It is all very intuitive to me.

If you could say one thing to people interested in specializing in bari sax, what would it be?

There is a misconception that the baritone takes a lot more air and that you have to play slower or fewer notes or perhaps play more simply on baritone. I think it probably does take some more air, but if the setup is right I think it is possible to do all of the same things on baritone that other sax players are doing.

Historical Interviews

While we have done some more recent interviews with great baritone saxophonists, there are some excellent historical interviews floating around the internet and we’d like to highlight some of them for you.

JazzBariSax.com Interview Series: Adam Schroeder

The next installment in our interview series feature Adam Schroeder. Adam holds down many of the baritone chairs on the West coast and has put out several albums as a leader. He is a tremendous guy and an accomplished saxophonist, we’re glad to feature him here.
  • Adam SchroederWhy the baritone? I found my voice on the baritone saxophone during my senior year of high school.  I had been playing the lead alto chair in our jazz band for three years however was trumped in the audition by a great friend.  We had both been studying with David Glasser from NYC at the time and had both learned that the two most important chairs in the saxophone section were the lead alto and the baritone…support!  Since my friend and I each knew one another’s playing, it was an easy switch for me to hopefully offer a stronger support in the section instead of playing the second alto chair.  Needless to say, I loved it and never looked back.
  • Favorite recordings of and/or with baritone saxophone? 10 to 4 at the 5 spot, Encounter & Julian by Pepper Adams; The Concert Jazz Band stuff by Gerry Mulligan; Stop and Listen by Cecil Payne & anything by Leo Parker
  • What’s your equipment/set up? Right now I’m floating between two set ups: 1. Berg Larson Hard Rubber 110/2 SMS chamber with a Rovner Lig and Rico Jazz Select 3M reeds 2. Vandoren B9 with their M/O Brass Lig and Vandoren ZZ #2 reeds.  I find each suitable for many different occasions but if there is an extra punch needed, then I throw on my Berg
  • Low A, Low Bb, or “My favorite horn is the one in front of me” ? I currently play a low “A” horn; Yamaha 62 with some custom work done after an extensive repair from an airline incident.  I’ve owned a 1920 Silver Conn low Bb however did not play it that often so I sold it to someone who is playing it full-time.  I’d love to find another low Bb horn as I believe they speak better all around the horn…and as a soloist, I find that the horns themselves resonate with more colors than a low A horn
  • Anything specific to the baritone you recommend practicing? Just think of it as another saxophone, not a baritone…that’s a common stereotype, that this horn we love is SO different than the other saxophones.  Don’t be scared, put some air into it and your back into it and have some fun!  LONGTONES!!!!!!!!!!!!
  • Favorite venue/place to play? Anyplace where the audience is involved/engaged.  They want to feel the energy as well…not just the musicians playing for themselves (or each other).  I love live clubs where there is conversation going on music related…not just obscene talking or chatter.  In Los Angeles, I really enjoy the Blue Whale, Jazz at the CAP, Alvas, The Lighthouse, Vitello’s and then anything that In-House Music represents.
  • When travelling, does the horn go under or in the plane? IN THE PLANE – but be nice!  Everyone is just trying to do their jobs and being an ass gets you nowhere!  Be accommodating as well.  Most of us traveling with the new “Manning” custom cases also take pics on our cell phones of the horn in the overhead/closet on the different aircraft models that we are flying on.  But overall, JUST BE NICE and they are usually pretty understanding.  If not, stand your ground in a polite and reassuring way and continue to ask for their supervisor.
  • Favorite quotes about music? Keep On, Keepin’ On (Clark Terry); Take care of the MUSIC, and the MUSIC will take care of you (John Clayton); the 5 “T’s” of playing (Oscar Peterson) and Dizzy’s list (can’t remember what its called at the moment)
  • What do you do when not playing music? Enjoy the outdoors…mother natures natural symphony.  Compose and sing; work in another field which I feel allows me to focus in on music at a much more heightened state when I get the chance.  Read and spend time with my family.  All of which I’ve mentioned above leads right back to my passion, our passion, which is music.
  • Bonus Question: “A penguin walks through that door right now wearing a sombrero.  What does he say and why is he here?”  Humor Me, you look just as lost as I do…but lets enjoy today for what today brings and hopefully make a few smiles and memories along the way

Be sure to check out Adam’s website for more info!

JazzBariSax.com Interview Series: Paul Nedzela

999346_10200125395448846_2100103875_nThe latest installation of our interview series is with a baritone saxophonist who is taking over the world. Paul Nedzela was kind enough to spend some time while on the road with the prestigious Lincoln Center Jazz Orchestra to give us some insight into his artistry. He has recently been seen performing with the Village Vanguard Orchestra and you can catch him with the Ted Nash big band later this month at Dizzy’s in NYC. On a personal note, I have great respect and awe for Paul’s talents and his congenial vibe. I am glad he has shared some insight into his world with us. – Hadro

Sound.

Sound is always the first thing I notice about any player, regardless of what instrument they play.  And personally, I think that sound is the defining characteristic of most baritone players.  Though the sound wasn’t what initially drew me to the baritone in the first place.  When I went to junior high school, everyone picked up an instrument, and I picked tenor sax.   It wasn’t til a year later, after I showed some proclivity for the horn, that they switched me to the baritone; in part, because I was a little bigger than the other kids.  Looking back on those first couple of years, like many other bari players, I looked forward to getting the chance to honk out a few low notes and make my mark.   It wasn’t until I started studying privately that I started to mature, and slowly approach the instrument differently. I began to hear some of the great baritone players around town; taking in the unique voices each of them had on the instrument.   I slowly grew as a musician, assimilating as much as I could, and working as hard as I could to take what I heard and recreate it in my own way.

The horn.

The baritone, more than other horns because of it’s register, can have very different personalities.  It is able to sound light and romantic in the upper register, full and vibrant in the middle, and sharp or robust in the lower. It can take on the characteristics of a tenor sax or a trombone, but also a cello, bassoon and even the human voice when played well.  Each player must decide for themselves what it is they want to hear in their own sound.  Of course, set up can have a lot to do with that.  Different horns and mouthpieces will lend themselves towards one approach or another.  Personally, I prefer a low Bb horn and I tend to think that older horns have warmer and richer sounds, though that is certainly a generalization.  There is nothing inherent in modern horns that prevent them from being able to do that, I just don’t think it’s a priority for those who make the horns these days.  Low A baritones have to add a fair amount of metal tubing to the horn which changes the intonation and sound of the horn.  Low A’s are recalibrated to account for this of course, but I tend to believe that the extra note isn’t worth it.  Ultimately, however, I believe that it is the man or woman behind the horn that makes the sound, regardless of what he or she is playing.  Michael Jordan will always be Jordan, no matter what shoes he is wearing.  Bird will always sound like Bird, and Coltrane like Coltrane.

Influences.

My influences have changed over the years.  My first exposure to the baritone was with the album, Birth of the Cool.  That got me checking out a lot of Gerry Mulligan. I loved his pianoless quartet albums.  He would certainly be my first influence.  After a while I started to feel that my playing was mirroring his a little too much and I started to move away from it.  I started listening to a lot of Pepper Adams.  I loved his playing with Thad Jones on Mean What You Say, and with Charles Mingus on Blues and Roots. Then I started seriously listening to the baritone players I could in NYC like Joe Temperley, Ronnie Cuber and Gary Smulyan.  After a while, I really started listening to and transcribing a lot of other sax players, not just baritone.  Now I would consider some of my big influences to be Cannonball, Coltrane, Joe Henderson, and Bird.  The real benefit to that for me was realizing that the baritone, like any instrument is to any artist, is a medium or a tool; a means of expressing the music in each of us.  And why restrict our appreciation to those who happen to play the same instrument we do?

Practicing.

Now in terms of practicing, I find it hard to give general tips to an unknown audience.  But I will say that it’s important to know how to get to Carnegie Hall.  For sound, there is no replacement for long tones. There are many different ways to approach long tone exercises, but no real substitute for doing them.  Technical exercises can depend on what you’re going for as a musician.  I do think that fundamentals will always be important.  Knowing and being able to play all types of scales in all keys, at all tempos.  A simple enough idea, but a difficult one to master.  Then anything from etudes, to an endless combination and permutation of patterns to practice getting around the horn.  I think transcribing is a great way to train one’s ear and also assimilate the playing styles of the players we love. Then there is the idea of playing in an ensemble.  There are so many skills and concepts to practice in that setting that it’s hard for me to know where to begin.  I would say that it’s important to know one’s place at all moments within the group; how your note fits in the chord, what your role is in the composition, what other instruments you’re playing with, and who is leading and who is following. But an overarching idea that I’d like to stress is the importance of focus in everything we play and practice.

The best lesson I’ve learned is that the goal of a musician should not be how to impress or make his or her mark, as I once thought as a child, but rather how to make as much music as possible.  And the goal of music, for me, is to evoke emotion, whatever that emotion might be.


 

Be sure to check out Paul’s website too!

JazzBariSax.com Interview Series: Aaron Lington

Tlingtonhe latest installment of the JazzBariSax.com interview series features Aaron Lington.  He is a great baritonist and holds down the fort on the west coast. He is an educator and a leader, having led numerous recordings, as well as having been kind enough to add a handful of transcriptions to our repository here. Please get to know him:

Why the baritone?
I have played all four of the saxophones to varying degrees throughout my playing career (hardly any soprano, a good deal of rock/blues/R&B tenor, and a TON of classical alto), but it is the baritone that I have always returned to and it is what I have played exclusively now for the last 10 years or so. I feel that I get a better and more natural sound on it than the other saxes, altissimo comes more easily, and as I play pretty aggressively, I feel I can “lay into the horn” a bit more than the other saxes.

Favorite recordings of and/or with baritone saxophone?
Bob Brookmeyer and the New Art Orchestra – Celebration (features Scott Robinson)
Pepper Adams – The Master
Gerry Mulligan – What Is There to Say?
George Benson Cookbook (features Ronnie Cuber)

How did you find your way to the baritone saxophone?
I played piano and violin for many years as a young man. I played violin in my high school orchestra and the orchestra director also happened to be the band director. The two of us had developed a friendly relationship and I asked him the summer before my sophomore year in high school if he could teach me a wind instrument so that I could play in the school marching band. Saxophone was his primary instrument, so he loaned me his alto sax and gave me some lessons. I played in the marching band that fall semester, but all marching band members had to also play in the concert band. He had me play baritone saxophone in the concert band and I *really* fell in love with it and have played it primarily ever since.

What’s your equipment/set up?
1969 Selmer Mark VI Low Bb
or
1994 Selmer Super Action 80 Series II Low A
Lawton 8*B
Rico Orange Box 3.5
for a ligature I have lately been using a new prototype ligature designed by Bay Area engineer Joel Harrison – it’s a unique new design and is REALLY awesome…he hopes to have some in production soon

for classical bari I play:
Selmer S-80 C**
Rico Reserve 3.5 or 4
Francois Louie ligature
Low A, Low Bb, or “My favorite horn is the one in front of me” ?
Low Bb for most all jazz gigs, low A for classical solos, saxophone quartet and pit shows

Anything specific to the baritone you recommend practicing?
Long tones: it helps with developing efficient air control and tone quality which are essential for the big horn.

Tips for young baritone saxophonists?
Have fun!

Favorite venue/place to play?
In the Bay Area there a a number of great venues:
Davies Symphony Hall
the new SF Jazz Center
Studio Pink House (a “house concert” setting in Saratoga, CA)
Yoshi’s Oakland
Yoshi’s San Francisco
Palace of Fine Arts (San Francisco)
California Theater (San Jose)
Le Petit Trianon (San Jose)
Blackbird Theater (San Jose)
Cafe Stritch (San Jose)
the list could go on…
In my home town of Houston, there is a really hip, intimate club in the Montrose called Cezanne’s

When traveling, does the horn go under or in the plane?
Anvil case under the plane. Although with the exorbitantly high baggage fees lately, I have been borrowing a horn at most out-of-town gigs. Not ideal, but not the end of the world either (my wife is a pianist and she reminds me that she plays on a different instrument EVERY time she leaves the house!! lol).

Favorite quotes about music?

Art teaches nothing, except the significance of life. (Henry Miller)

What do you do when not playing music?
Long distance running. Wine making. Video gaming.

Bonus Question: “A penguin walks through that door right now wearing a sombrero. What does he say and why is he here?”
“My iceberg made a wrong turn at Albuquerque.”

JazzBariSax.com Interview Series: Lauren Sevian

lauren-sevian

In this installment of the JazzBariSax.com interview series we are featuring one of the best, and hardest working baritone saxophonists out there today, Lauren Sevian has been good enough to take a few minutes to answer some questions for us.


Why the baritone? After struggling with the alto, I tried the baritone and discovered my “voice”. Been with it ever since!

Favorite recordings of and/or with baritone saxophone? Pepper Adams “Encounter” with Zoot Sims, and Burn Brigade with Ronnie Cuber, Nick Brignola, and Cecil Payne. Also a fave is Coltranes “Dakar” with Pepper Adams and Cecil Payne.

How did you find your way to the baritone saxophone? I felt like it was better suited for what I wanted to say vs playing the alto or tenor.

What’s your equipment/set up? A Buffet (new) Low A 400 series, RPC mouthpiece, Rico H ligature, Rico 3 reeds (yes orange box!)

Low A, Low Bb, or “My favorite horn is the one in front of me” ? I’ve always been a low A gal but recently tried the first low Bb horn I really liked! So I’m curious…but I will always go back to playing a Low A.

Anything specific to the baritone you recommend practicing? For me, any kind of technique exercises to help facility, especially in the upper register, helped me tremendously. Especially chromatic exercises.

Tips for young baritone saxophonists? Longtones, practiced in wide intervals to train your embouchure.

Favorite venue/place to play? Jazz Standard! Also like Kitano & Smoke.

When travelling, does the horn go under or in the plane? I used to bring it on the plane, but due to difficulties traveling recently I just try to get a bari wherever I go. I have a golf case to check it in if I absolutely have to.

Favorite quotes about music? “If music be the food of love, play on” -William Shakespeare

What do you do when not playing music? I like cooking, going out with friends, chilling at home in front of the tube.

Bonus Question: “A penguin walks through that door right now wearing a sombrero. What does he say and why is he here?” He says, “Oh hello El Boogie I’ve brought you your sombrero back.” I let him borrow it since it has been heating up in Antartica. 😉

 


Find out more about Lauren at her profile here, and visit Lauren’s website.

And of course be sure to check out the rest of the interviews from the JazzBariSax.com interview series.

 

JazzBariSax.com Interview Series: Kenny Berger

bergerIn the next installment of the JazzBariSax.com interview series we have with a us a veteran of the baritone saxophone. Kenny Berger is a complete wealth of knowledge and history of the baritone saxophone. We are very glad he has shared some of his experiences with us.

 


 

Why the baritone? – I have always had an attraction to lower pitched sounds and I find the baritone register compatible with my own speaking voice. I also was attracted to its versatility as an ensemble voice as well as a solo voice.

Favorite recordings? – “Reflectory” by Pepper Adams on the Muse label is my favorite record of his and the title track features what I consider to be his best recorded solo. Dakar (Prestige)issued under John Coltrane’s name but actually led by Pepper, features a front line of Trane, Pepper and Cecil Payne. Several of Harry Carney’s features with Ellington are essential listening, including “The Telecasters” from such Sweet Thunder, “Frustration” from the Bethlehem sessions as well as La Plus Belle Africaine and Chromatic Love Affair. I love all the Mulligan Concert Jazz Band records. though my interest in them is primarily from my point of view as an arranger.

Equipment setup? – My horn is a low B-flat Selmer Mark VI ,110,000 series which dates to the early 60’s. Mouthpiece is an old rubber Otto Link Tone Edge 7* that I bought around 40 years ago and used for several years on my old Conn. When I began playing the Selmer I had the piece worked on by Phil Barone and have been using it exclusively for around 20 years. Reeds are Alexander Superial DC 2 and a half. The reeds are so much better than any others I’ve tried that my biggest fear is that like many good pieces of baritone equipment, they may one day stop making them due to lack of demand. So help keep me in business. Buy several hundred boxes today!

Low A or B-flat?– I am a devout low B-flat advocate. Adding the extra tubing for lowA throws the horn out of tune with itself and alters the tone quality of all the notes below written low D and can also cause the palm keys to tune flat. On any conical stopped pipe ( sax, oboe..) the note nearest the bell (low Bb) tends to be bright in quality and relatively free in response while the next note up ( B natural) tends to tune a bit flat and be somewhat stuffy in response. With the low a added these qualities get thrown out of whack and also can have bad effect on the lowC# if the tone hole is not placed right. Every time I play a low B-flat on a lowA horn, I want to reach into the bell and remove the dead animal that I’m sure must be stuck in there. I have several ways of producing a low A without the key. I could describe them but then I would have to kill you.

Anything specific to the baritone you recommend practicing?- The main things I recommend practicing are articulation and overtone exercises. For a jazz baritone player it’s all about articulation as far as I’m concerned. Every time I hear a player whose lines get garbled, whose time is shaky and/or can’t be heard without a mic, it is due to a lack of command of articulation. If you have trouble projecting the solution is not using the brightest sounding setup available, it;s getting your tongue to play more of a role in how you shape your lines and where you place the time.

Tips for young baritone saxophonists? – The horn is an inanimate object. A piece of brass tubing. You, presumably, are a human being with the ability to make inanimate objects conform to your needs. Therefore don’t let the baritone’s size and weight distort your air-stream and and body shape. Try to have the horn hang in a way that allows you to address the mouthpiece and the keys without scrunching up your shoulders and folding your windpipe. No matter how intense the music gets, try not to make what I call the “Jazz Face” (squeezed tight with all energy directed toward the tip of the nose). Keep the so-called facial mask relaxed and open. This is one of the most important lessons i learned from the great Danny Bank which he learned from watching Harry Carney up close.
Try to maintain the integrity of your sound regardless of how loud or unresponsive the rhythm section may get. Don’t change to a bright,uncontrollable setup purely for the sake of projection. Other players’s insensitivity is their problem, not yours. Of course in situations dominated by amplification all bets are off. Best to just ram those earplugs in, cash the check before it can bounce and live to fight another day.

Airplane travel? I long ago gave up the ancient practice of engaging in the ritual dance with airline employees. I have a specially made flight case made by Calzone. It goes under the plane. They make a tracing of the horn and create the tray to fit the individual horn. I had one that was made of wood and lasted me 22 years. The new ones are made of a material that is lighter, thinner and more durable. Never had any damage with a Calzone case.

Favorite quotes about music? – Perhaps my favorite quote about music was not said about music at all. The great Lawrence P. Berra while watching a young hitter try to copy a famous player’s batting stance said “If you can’t imitate him, don’t copy him”.

When not playing music? – I am a rabid baseball fan and an avid reader. I sometimes have 2 or 3 books going at once including books on space science, evolutionary science, history and the occasional murder mystery.
I also dig trail hiking, camping and birding. Playing and writing music takes place in too many windowless rooms. Got to get outdoors.

 


Find out more about Kenny at his profile here, and visit Kenny’s Website

And of course be sure to check out the rest of the interviews from the JazzBariSax.com interview series.