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Posted
4 hours ago, adh1907 said:

On the subject of the Tristano school, can anyone explain Warne Marsh’s bubblegum embouchure in the 50s? So weird, I would love to emulate it, if someone could explain the theory and practice??

 

Not being a saxophonist myself, what do you mean by bubblegum embouchure? I vaguely recall once speculating that Warne liked to his use mouth/throat as a resonating chamber as much as possible -- Is that something like it?

Posted

Check out that lateral/diagonal jaw movement. It violates damn near ever "rule". I don't know that it was a permanent thing with him, though?

Some singers would do that on occasion, there's a clip or two of Herb Jeffries that are insane with that. Go to "Baby Won't You Please Come Home" here 

 

Posted
18 minutes ago, JSngry said:

Check out that lateral/diagonal jaw movement. It violates damn near ever "rule". I don't know that it was a permanent thing with him, though?

Some singers would do that on occasion, there's a clip or two of Herb Jeffries that are insane with that. Go to "Baby Won't You Please Come Home" here 

 

I think this may fit my previous speculation. Isn't Warne, like Jeffries,  out to spontaneously alter/adjust the acoustic properties of his mouth/throat combo -- the resulting alterations/adjustments, in Warne's case, emerging from his horn?

Posted

I know nothing about singing, but it seems, in both cases, that there is no audible correlation between the physical actions and the audible outcomes. Especially in Warne's case. 

Posted

Isn't there possible parallel between what Warne is doing and the extremely oblique way Pres often held his horn, the latter approach leading to/enabling audible shifts in timbre/sonic density? Albeit with Warne those shifts are more on a micro level.

 

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