“I’m excited to report that on Friday, July 5, 2013 I won the Galaxie Rising Star Award at the Montreal Jazz Festival! This prize was based on a performance at the Festival by my quartet, which included Dave Restivo, Mark Kelso and Mike Downes. The award is given for the most outstanding Canadian composition amongst the groups performing in the outdoor concerts, and it is a cash bursary accompanied by airplay on Galaxie Satellite Radio in Canada. The jury selected two of my tunes, “Baker’s Dozen” and “Winds of Change”, both from my Juno-nominated new album, “Identity”. As a result, I was interviewed by Mark Ruffin (Sirius / XM Satellite Radio – USA) and Michael Bourne (WBGO – New York City) during the festival.”
Roger Rosenberg has recently submitted a great article with his unique insights on playing in sections as a baritone saxophonist. Roger has a huge wealth of knowledge when it comes to playing in ensembles and he has played and recorded with some of the best bands around.
You can catch Roger June 1st at Smalls in NYC co-leading the Hayes Greenfield-Roger Rosenberg Quartet. Roger will also be on tour with Steely Dan mid July through October.
Congratulations goes to Gary Smulyan this year, as he is the current winner of the Jazz Journalist Association’s Baritone Saxophonist of the Year category!
Two baritone saxophonists in a major TV commercial? Yes, please! Although to be fair neither Frank Basile or Jason Marshall is playing baritone. We’ll take it anyways. We’re not sure which is more shocking, Frank at the piano or his mustache!
Many baritone saxophonists use a harness or an elaborate saxophone stand to help cope with the sheer weight and size of the big horn. There are a number of harnesses and special neck straps out there, and each has its own set of drawbacks. Using a saxophone stand while playing has some obvious problems. Awkward to handle, difficult to move, extremely inconvenient to transport, and lacking the option to play standing up are among them. Many traditional harnesses force you to hold the saxophone dead center instead of to the side as some people prefer. And even with some adjustment to get the horn in the right place players may find that they can’t move the saxophone without adjusting several straps. Placement aside, the next big concern is breathing constriction. Some harnesses fit well until the player takes in a large breath and then they find that the harness is constricting their lung expansion, or worse, their diaphragm. On a big horn that needs a big sound this is one of the worst handicaps a player can face. A number of players that use harnesses don’t actually prefer them, but find they need to use something other than a neck strap for physical reasons, either neck pain, or lower back pain.
New Solution, what is it?
FRONT – Vandoren Saxophone Support System Harness
Vandoren, the renowned reed, mouthpiece, ligature, and accessory maker has jumped into the fray with a new solution. Their offering is unlike most harnesses and neck straps out there now and features some very new and exciting solutions. For a full rundown of all of the features and a demonstration, check out the video from Vandoren below. The harness works by transferring the weight of the saxophone up through the shoulders, and uses a counter-lever system to absorb much of the weight to the belt where it unlikely to cause injury. The harness is adjustable in front just like a neck strap, and the slats in back automatically adjust for the player’s height. The belt strap is also adjustable and comes with an optional extension.
The harness folds up very impressively, and fits in its sleek carrying bag that will easily fit in to the bell of a baritone, and even a tenor saxophone.
BACK – Vandoren Saxophone Support System Harness
Does it work?
In a word, yes. The way the harness suspends the saxophone allows just as much freedom of motion as a traditional neck strap, if not more, since weight distribution is not an issue. You can play with he horn in the front, to the side, lifted up, sideways… whatever. As for the weight distribution, the harness was very comfortable to use. I recently had a chance to use it on a 4 hour gig, standing the whole time and was pleased with how well I felt at the end. But the benefit really hit the next day when I put my horn together for rehearsal. As soon as I put my old neck strap on and clipped into the horn I immediately realized how much more comfortable the harness was.
You can pick one up at your local music store, or get it on Amazon.
JazzBariSax.com curator, Andrew Hadro takes the new harness out for a spin:
If you’ve thought that Cecil Payne was long overdue to be added to our Transcription repository you will be delighted to learn that we have added a new transcription of Cecil’s solo on Cool Blues from his album Performing Charlie Parker Music.
Thanks goes to the prodigious transcriber, and wonderful baritone saxophonist in his own right, Aaron Lington.
Shirantha Beddage’s latest album “Identity”, which we previously mentioned here, has been nominated for a 2013 Juno award in the category of Traditional Jazz Album of the Year! The Juno award is one of Canada’s highest musical honors, and is akin to the USA’s Grammy awards. Congratulations, and much luck to Shirantha, we wish him much success.
In other news, head on over to the transcriptions page to get two new transcriptions submitted by Giles Miton.
Baritone saxophonist Jeff Suzda has posted the first in a series of helpful short instructional videos to help others in their altissimo journey.
Be sure to check back on Jeff’s YouTube page for his additional videos in the coming weeks, and if you haven’t already checked it out, go take a gander at his 4 octave chromatic scale demonstration.
UPDATE: Check out Jeff’s subsequent videos Part 2, and Part 3!
