James Carter

Опубликовано16.11.2018 в 15:42АвторTausho

James Carter test playing MACSAX D-Jazz mouthpiece NAMM 2012

Sonorous metal blowing martial sounds. Sure, but also the earliest roots of saxophone technique? I looked at that, and also at bass clarinetists, like David Murray for example. You have to pop that note out on that horn, where it has that type of an attack. Taking it and making something more meaningful out of it. Just the same as Duke did with mutes. Not as an outsider, but as one of the most exciting young virtuosos in contemporary music; as an accomplished wind player who has taken on the challenge of mastering all the single reed and double reed instruments; as an eternal searcher, always seeking out ways of deepening his command of the vocabulary, while finding just the right combination of gear to expand his range and depth of tone on each and every horn.

To that end, Carter has just completed separate electric and acoustic projects for Atlantic Records: It has an English horn sort of quality to it, right between soprano and alto: No curve in the bow like a regular saxophone-it goes straight down.

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And it has a bulb at the end of it. They were made by Conn from to And, of course, with the onset of the depression, they had to scale down their instrumental arsenal to what was standard issue for big bands. The exotic ones were pretty much the first to go such as the F-mezzo and the E-flat sopranino, while the E-flat contra-bass sarousophone-a cross between saxophone and bassoon, which is often employed in lieu of a contra-bass saxophone-that lasted until about I would be shocked if nobody catches on to this horn.

They were called the Back Room Boys, and I got honorably inducted once I started working in my teens. An all-around musician who we lost back in I was able to look over shoulders and had access to different tools.

The Quest For THE Perfect Mouthpiece – James Carter Article Featured in Downbeat. There's an inner musical tree that grows in each and every one of us.

What got me started was I had an old horn that was my first instrument, and I had polished everything I could on the outside, and then I decided to take it to the next level and got up the gumption to take the keys off. For instance, in the Grafton alto was patented- you know, that plastic alto that Bird and Ornette played. Of course, it was short-lived because of the mechanics of it. They pretty much had the same mixture for everything, and then on top of that, automation came into effect so personal attention was lacking in key areas.

They also switched their stacks around so that the horn became functionally friendlier. Because all of the keys on the main part of the horn were in line up until the time of the Super Action. So instead of playing the horn like this . It had more of a human feel as far as where it lay.

When they turned this column around here, and made the left side offset from the right, both arms were relaxed, and that improved the flexibility and the playing action and the comfort overall. So this pretty much established the standard of everything that you see out here today.

It was to accommodate his big hands or whatever. So the problem with the Mark VII was not so much the sound as the orientation?

REED SCHOOL Woodshed | PRO SESSION. By jAmEs cArTEr. The Quest for THE saxophone mouthpiece. “There's an inner musical tree that grows in.

Because they changed the bore, as in the inner chamber of the horn; they expanded it even more, I think, and with that they expanded the tone holes, particularly on the top of the instrument, as well as some on the bottom, to proportionally correspond to the bigger bore. And that threw the whole horn out of whack, particularly for jazz players.

They regard the Mark VI almost like baby pictures. The thing that instantly popped out was the potential for a good sound on all these mouthpieces, for a really extended range and a rich mix of overtones and harmonics. But like anything else, you have to work with them.

They just run the whole gamut without missing a beat. And that would be the ultimate; to really get a chance to hang out with Lawton and hopefully to get some other stuff happening that would continue to nourish this-this voice.

These tools of the trade just help you along in your journey.

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{REPLACEMENT-(Зайцев.нет)-(web-climat.ru)}More information Lawton mouthpieces have been around for a good few decades now. Geoff was always very interested in mouthpieces and never stopped trying new things to make them sound better. All pieces were handfinished. Stainless steel mouthpieces were made from surgical stainless steel, and ebonite mouthpieces were created from a solid rod and shipped with a Lawton single-screw ligature and cap.

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Comments: 4

  1. 20.11.2018

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