Category: Interview

The 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!

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.

In 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.

Welcome to the JazzBariSax.com interview series, where we get to know some of the practitioners of the big horn. Up this week is Claire Daly. If you don’t already know of Claire Daly, you probably should:

“Claire Daly’s first CD as a leader, “Swing Low” (1999) is in the William Jefferson Clinton Library as a CD significant to him while in office.  She has won Downbeat Magazine “Rising Star” 8 times in 10 years.  Her most recent CD, “Baritone Monk” hit number one on the CMJ Jazz Charts, and rose to number nine on the Jazz Week Charts. It is sponsored by the North Coast Brewery, makers of Brother Thelonious Ale and all proceeds from the CD go to the Monk Institute for jazz education.  She was the Jazz Journalist Association’s Baritonist of the Year in 2005.”

Why the baritone?  Why not?  I mean, if you don’t mind hanging 20-some pounds of metal around your neck and blowing air into it for many hours of your life, why WOULDN’T you play baritone?  It makes a lot of sense to me.

How did you find your way to baritone?  I worked my way down. Started on alto as a kid. Found the bari in my 20s. Never looked back.

Low A or Low Bb?  I play low A Selmers. I had a low Bb Selmer, but it wasn’t a great horn. I think I could adjust to whatever I had to – I’ve just always had Selmers.  I am not a big equipment geek. Find something that plays and play it. My setup is a Low A Mark VI and a Jody Jazz DVNY 7* mouthpiece. I love it.  Before I got it I used a custom Phil Barone for 10 years. It was also a great piece. I have used Bari plastic reeds predominantly for over 20 years.

Anything specific to the baritone you recommend practicing?  I’m a big fan of the longtones. They do so much for your personal sound, as well as opening up the horn, your breathing, your connection to the instrument, etc.  I tell students: “If you do 15 minutes of longtones a day, your life will change”.  I believe there is a meditative quality to doing them. Also, you can know everything there is to know about music, but if your sound sucks, nobody will want to hear you.

Tips for young baritone saxophonists?  Best advice I ever got was “Just keep playing”. It’s worked so far. [George] Garzone says “Just keep the horn in your mouth”. I’m with him.

Favorite venue/place to play? Could be anywhere a good, musical gig happens. Sometimes the fancier situations have other pressures attached. I’ve had some great gigs in unlikely little spots. It’s the music more than the venue, and a great gig can happen anywhere.

Favorite recordings?  I hate this question because it changes regularly. I love most of the bari players, and I love many styles of jazz music (and more). Just start googling. You will be led.

Baritones and airplanes?  Bad combination, but so far, I’ve only had to buy my horn a ticket once. Twice, really, but I talked ‘em into refunding one of them. I take it on the plane with me. Andrew Hadro and I threw a party for bari players and every conversation in the house ended up on this topic.  It’s our cross in life to bear.

Favorite quotes about music?  “Writing about music is like dancing about architecture”

When not playing music?  I wish I had some other cool hobby at this point. I’m looking for one. Anybody? It feels to me like I’m always either playing, listening to, teaching or doing something music related. I’d like to even just be able to take a vacation.  The other night I was walking home from teaching and jumped into a comedy club and saw Bobcat Goldwaithe (or whatever his name is). He was actually pretty funny. I’d like to be a comedienne, but I think it’d be like another music career. Lots of “uphill”.

Bonus Question: “A penguin walks through that door right now wearing a sombrero.  What does he say and why is he here?”  I think the penguin would say “Quick! Run out of here before someone tries to give you a day job!”

Find out more about Claire and her latest CD, “Baritone Monk” on her website! Also be sure to check out her profile here on the site, and some of her upcoming gigs on the Gigs listing page.