The Soprano Saxophone

[Late]

In my mind, the great triumvirate of the soprano saxophone is Bechet-Lacy-Parker. (Evan, that is.) Convincing arguments could be made for the significance of Coltrane-Braxton-Liebman's contributions to the horn, but they tend to strike me less as innovators and more as superlative practitioners.

I'm leaving out a lot of other important players on this horn, though. Who do you like on the soprano?

[JSngry]

Wayne. But with him, it's not a soprano. It's a voice.

[Ron S]

[just kidding ]

[Late]

Wayne. But with him, it's not a soprano. It's a voice.

Yup. Agreed in full. Left Shorter right out of my "opening comments." Bill Evans (the saxophonist) once said (to a bunch of us little music students) "Thank God Wayne picked up the soprano."

[Late]

... oh, and Ron — you're banned. You'll find the exit down that flight of stairs and to your left.

[Ron S]

... oh, and Ron — you're banned. You'll find the exit down that flight of stairs and to your left.

Hey, Man, you didn't have to KICK me down those stairs:

I could've walked.

[Late]

I could've walked.

You're right. Sorry. Just kick Kenny down the stairs.

[Joe]

Lucky Thompson, maybe?

Unique tone on the instrument. And he picked it up in a "modern" context either before or about the same time that Coltrane and Lacy did, IIRC.

[jlhoots]

Jane Ira Bloom may not be an innovator, but she's damn good.

[king ubu]

What a pity Johnny Hodges played it so rarely! The RCA Centennial notes state he refused to play it when Duke refused to pay him more as a "doubler".

Agree on Lucky T! Wonderful soprano (and tenor, to be sure) on "Lucky Strikes!".

ubu

[Д.Д.]

Two people who I believe, contributed significantly to expanding the laguage of the soprano saxophone:

Bhob Rainey

Michel Doneda

Edited February 14, 2005 by Д.Д.

[couw]

Barney Wilen

of course.

[brownie]

Sidney Bechet should be in a category of his own.

He was a monster on the instrument!

[AllenLowe]

youy know it's weird - but I hate that damned instrument - I love the older players, and Lacy, Bechet, etc - but I cannot listen to the instrument post-1970 no matter who's playing it or how well it's played. I'm not defending myself, as a matter of fact I throw myself on the mercy of the organissimo body, but it's come to be like the jazz flute for me - I hear it and go on to the next cut - anybody else like me here?

Edited February 14, 2005 by AllenLowe

[Son-of-a-Weizen]

anybody else like me here?

Yep.....can't stand it.

[Swinging Swede]

What a pity Johnny Hodges played it so rarely! The RCA Centennial notes state he refused to play it when Duke refused to pay him more as a "doubler".

Hodges stopped playing the soprano in 1940, I think (which indeed is regrettable). But Charlie Barnet continued to play a Hodges-inspired soprano sax on mood pieces long after that (Barnet was a big Ellington fan of course).

According to the liner notes to New Orleans Suite Ellington was planning to persuade Hodges to pick up the soprano again for Portrait Of Sidney Bechet, which was to be recorded on 13th May 1970. But Hodges died unexpectedly two days before the session.

[Jazz Kat]

Yo, Gerry Neiwood up in da house!

[Late]

I cannot listen to the instrument post-1970 no matter who's playing it or how well it's played.

Interesting — my favorite period of Lacy is roughly 1976-1979.

David, I've heard Doneda, but have never even heard Rainey's name. Thanks! The AMG bio makes his music sound pretty interesting. Will have to check it out. Any particular recs?

[bary01]

don't forget Grover Washington Jr

i like The Kenny Burrel/ Grover Washington Lp "Togethering" (blue note)

Edited February 14, 2005 by bary01

[marcello]

To my ears, the greatest living soprano saxophonist ( outside of Wayne, who has a real gift for playing it ) is TIM GARLAND.

Really fantastic sound! Warm, full and exciting

As for the older generation, I love Zoot!

[Jazzmoose]

youy know it's weird - but I hate that damned instrument - I love the older players, and Lacy, Bechet, etc - but I cannot listen to the instrument post-1970 no matter who's playing it or how well it's played. I'm not defending myself, as a matter of fact I throw myself on the mercy of the organissimo body, but it's come to be like the jazz flute for me - I hear it and go on to the next cut - anybody else like me here?

You are not alone. Although I like jazz flute, so maybe you are...

[mikeweil]

Jane Ira Bloom may not be an innovator, but she's damn good.

She's my favourite, too - most beautiful tone on the instrument, IMHO.

[MartyJazz]

I give a hearty thumbs up to Lucky Thompson, very unique and wonderful sound. In a more "out" context, I do like Sam Rivers' work on the instrument, e.g., the Blue Note session, CONTOURS. Reed players have always stated that it's a bitch of an instrument to play well, and to the point, the few tracks I've heard of Rollins playing it (back in the early '70s) don't come off all that well IMO, as much as I otherwise love Sonny.

Edited February 15, 2005 by MartyJazz

[chris olivarez]

Unlike Allan Lowe and Weizen I like the instrument just fine but once again to each their own. Players I like on the instrument, in no paticular order, are Trane, Gary Bartz,Steve Marcus and Paquito D'Rivera.

[robert h.]

"I hate that damned instrument - I love the older players, and Lacy, Bechet, etc - but I cannot listen to the instrument post-1970 no matter who's playing it or how well it's played"

I've got a theory about that.

Pre-1970 there were very few soprano mouthpiece makers. The best was the Buescher with the large chamber, virtually no baffle and scopped out side walls & short shank. Big, warm, mellow tone.

Post - 1970 post-Wayne Shorter/Liebman/Grossman etc. - they are using small chamber, higher baffle screamers designed to project, but do so at the expense of tone.

Unfortunately, IMO today the fashion in soprano playing is to make it a piercing, cutting wailer, which is certainly cool if you like it, and has it's virtues, but I sure miss the 'original' sound.