#saxists

[winewidower]

Ya boy made it!

[musicwithoutborders]

Maurice Jarre/The Saxists, Theme from Lawrence of Arabia (Instrumental) I Hits on the Sax, 2015

[raven-6383]

AU Adam and Lute switch places with Lucifer and Lilith 

This will be most of the story 

. their daughter @pikachiee came up with the idea to make Vaggie their daughter now in the original universe everybody didn’t respect Charlie but in this AU sinners fear Vaggie which can be a problem to try to redeemed them

. in the original universe Charlie is way too nice but in this AU Vaggie is way too mean because her mother is Lute

When Adam met Lute for the first time she didn’t have a name so Adam started calling her after his favourite instrument that he played when he was in the garden and Lute took a liking to the nickname Adam started to call her

.Adam and Lilith

Okay, we all know why Lilith left the garden because Adam wanted to control and power over her but in this AU it’s more of Lilith wanting Adam to do everything for her she didn’t want to lift her finger to do anything for herself because she thought she was too perfect to do you think herself And after everything he done for her, she never appreciated it

Until Adam met Lute unlike Lilith she appreciated him

Lilith and Lucifer

.Lilith in this AU is very full of herself

.Lilith is not saxist like Adam but she does think she’s better than everybody 

.I don’t really have much for Lucifer all you need to know is that at the end of the day He just wants everybody in heaven to be happy 

.he’s not as strict as Lute

Adam and Lute

.Adam and Lute saw each other for who they were and they ended up falling in love

. Even though Adam did everything Lilith ask him to do at the end of the day she didn’t appreciate it unlike Lute who appreciated everything Adam did 

. Unlike a higher-ups and heaven Adam didn’t care about Luta rank as a angel 

if anybody has any ideas for this AU I would love to hear them😊)

Sorry if my grammar bad 

[space-bowl]

The Drew Brothers

Here's more insight on the Drew brothers for my Mouse House AU, particularly what they do at work with a bit of backstory. The three of them have gone through a lot back at the studio when they were young and now that they grew up they try to make ends meet in Toon Town; one of them clearly dealing with things better than the others.

Here's what the text says below if it's not too legible, with corrections:

Bendy

Mouse House pianist/singer vocalist/performer (sometimes)

Too tired for shit

Suffers PTSD

Boris

Mouse House saxist & clarinetist

Nervous & shy around new people

Stress eats (generally likes food)

Whitexx

Mouse House vocalist/performer

Their more successful twin brother

Rizz king

[flyway-art]

as a saxist, I'm in love with the idea of kohane playing the saxophone. however, I'm not in love with drawing the saxophone.

[kulturegroupie]

“At the end of Zeppelin’s excellent set, with an encore, it was after 11pm, the house lights had gone up and a quarter of the near capacity crowd audience had filed out.

Those that remained clustered to the foot of the flower bedecked stage and first came the clapping, then a prolonged bout of foot stomping flowed by thunderous cries for more until the whole cycle began over again and continued for several minutes, some of the crowd who had left poured back into the auditorium to see what all the fuss was about.

It was obvious they weren’t going home till they got more but when the group returned to the stage, they found the power had been switched off. “Hey, put the power on”, demanded singer Robert Plant as the group stood bewildered. Stalemate, Plant took up a harmonica and let fly on that and all the others could do was clap until a few minutes later the flow of juice was resumed.

With the first few bars of ‘Long Tall Sally’, the audience was on its feet dancing in the aisles and in the boxes and there was incredible mayhem happening on and around the stage.

The saxists from Blodwyn Pig and Liverpool Scene added their support in to the Zeppelin’s rock and the air around the stage became thick with paper aeroplanes (symbolically) thrown from the boxes along with a tickertape reception of handbills and balloons and petals of the flowers from the foot of the stage.”

— June 29, 1969 (Press Review by NME)

[projazznet]

Johnny Hodges – Live at Storyville

In 1951 Duke Ellington’s biggest star soloist decided to finally leave the band he had been with since 1928, seduced by JATP’s impresario Normal Granz. The jazz world was perhaps heartbroken, but at the same time Hodges took with him, Ellingtonians Sonny Greer, Lawrence Brown and Al Sears, to form a small group called Johnny Hodges and His Orchestra. Arrangements by pianist Leroy Lovett and others consolidated their sound, which led to a hit record called “Castle Rock”. The Hodges sound was decidedly more romping jump blues than the style of The Duke, but Hodges would always keep many Ellington standards in the book. On this outing, we find a live version of the 1952 band, with the exception of drummer Greer, it is the same band that had the hit record. Trumpet player Emmet Berry plays with fire and passion, and he’s very strong. Tenor Saxist Sears sounds much like he did with Duke, pacing his solos with an imperative crescendo, often leading to an explosively rocking climax. Brown and Hodges are in perfect form, fully mature here from their years with Ellington, and generally leading the charge with their distinctive styles. Welcome to a warm and cheerful outing, a rare glimpse of this band performing live.

[historybetweenthepages]

1985

[thehorrorsoftheblackbunnymask]

Bro I feel so bad for my band teacher.

I'm his best saxist and all month I haven't been playing because of my mental health keeps getting worse and I just can't do it. Like, I wanna play my sax but I just can't and I start crying because I physically and mentally can't do it. Ad my band teacher told me after class that he was worried about me and how he missed my smiley bubbly self and I almost cried then and there.

My band teacher is the best. He's super nice and fun and me seeing him that worried mde me cry when I went to my next class.

[skautism]

god i love the senior alto saxist. just like he’s awesome.

[moochilatv]

Shelly Rudolph presents: I Love LOVE

Portland Jazz Sensation Shelly Rudolph teams up with Charlie Hunter for new single 'I Love LOVE'

“I Love LOVE" began as a poem, as many of my songs do, but when I stepped up to the mic I started singing! Thus, a song was born. Lyrically, it is playful and sweet but the message is deep: love in any / every flavor, in any / every combination is to be savored and celebrated.

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BIO:

The ever-evolving--and expanding--Shelly Rudolph story continues onward and upward with the release of her latest album, the ambitious and atmospheric The Way We Love. Soul-jazz-pop chanteuse Rudolph has long been a favored voice around her hometown of Portland, Oregon, and musical travels have taken her to New York, Los Angeles, the West Indies, Japan, Korea and beyond. She has been dubbed a “robust and captivating vocalist” by Jazz Times and the LA Weekly praised her ability to use her “honey-glazed throat to send chills up and down your spine.”

Now, from the original music/poetess corner of her creative life, Rudolph follows up on her more “world soul”-oriented album Water in My Hand with The Way We Love, a unique and lyrical new song set featuring legendary, ECM Records-connected cellist David Darling. Darling’s layered cello textures blend with a subtle palette of piano-bass-guitar and cameos from soprano saxist Devin Phillips.

Among the highlights on The Way We Love are an inventively re-harmonized version of “Stand By Me,” a sweetly soulful duet with Redray Frazier on “Slow Life,” and gospel-tinged opening and closing tracks, “Close Enough” and “Calling Me Home.” Long a poet as well as a songstress, the album showcases her poetic and sensual expressivity on “The Way with Love,” spoken against a sumptuous bed of Darling’s cello tones. With this latest album, Shelly Rudolph is poised to rise in the ranks of voices of the must-hear caliber, on a global scale.

[maximuswolf]

Too Many Zooz - Saxist [Pop]

Too Many Zooz - Saxist [Pop] https://www.youtube.com/watch?v=7IIUrCD1-LE Submitted May 01, 2024 at 10:08AM by Jay-Eff-Gee https://ift.tt/WVUQfuG via /r/Music

[theloniousbach]

FROM THE SMALL’S ARCHIVE: AARON GOLDBERG with Mats Sandahl and Eviatar Slivnik, MEZZROW’S, 13 OCTOBER 2023, 9 pm set

Sometimes it’s the rhythm section, sometimes it’s the pianist. This time it was AARON GOLDBERG who has done some fine with with Omer Avital and Branford Marsalis but who hasn’t quite moved into the can’t miss category. I fostered that suspicion as they opened with the rather programmatic Dreaming of Freedom written by a French Caribbean tenor saxist who visited one of the colonial prisons. It was nice but felt composed and atmospheric more than jazz. A contrafact of Joe Henderson’s Serenity was unsettled but not harsh, but didn’t quite resolve despite obvious talent by all three.

Sometimes it should be the rhythm section. Both were unknown to me—no longer. Mats Sandahl found clever spaces for comments, both harmonic and rhythmic. But Eviatar Slivnik was even more striking. Goldberg aptly dubbed him “Tasty.” He had the Mezzrow’s/trio dynamics just right while adding ear cathching touches at every turn. He had a cowbell on his tom during Black Orpheus, in the middle of a Brazilian medley, that moved that already sinuous beat around magically.

That medley turned the set around for me. Goldberg let some jazz break out and they simmered things nicely. Then it got exciting. They took off on McCoy Tyner’s Effendi which swung richly, but with subtle, not obvious, power. The follow up was Poinciana with a clever rhythmic hiccup, but still properly pretty and swinging. Sandahl and Slivnik evoked Israel Crosby and Vernel Fournier from Ahmad Jamal’s trio while properly doing their own thing. Hearing Goldberg paying tribute to Tyner and Jamal in quick succession and sounding like Aaron Goldberg throughout was a jazz moment that I didn’t see coming.

[technicoloryuri]

sorry about your saxist parents :/

i wish my parents had let me switch to sax when we got the option -_- so much sexier than clarinet. unless youre playing a lively supertramp number i suppose

[hedgehogzb1]

Jalacy J. "Screamin' Jay" Hawkins (July 18, 1929 – February 12, 2000) was the most outrageous performer extant during rock's dawn. Prone to emerging out of coffins on-stage, a flaming skull named Henry his constant companion, Screamin' Jay was an insanely theatrical figure long before it was even remotely acceptable.

Hawkins' life story is almost as bizarre as his on-stage schtick. Originally inspired by the booming baritone of Paul Robeson, Hawkins was unable to break through as an opera singer. His boxing prowess was every bit as lethal as his vocal cords; many of his most hilarious tales revolve around Jay beating the hell out of a musical rival.

Hawkins caught his first musical break in 1951 as pianist/valet to veteran jazz guitarist Tiny Grimes. He debuted on wax for Gotham the following year with "Why Did You Waste My Time," backed by Grimes & His Rockin' Highlanders (they donned kilts and tam o' shanters on-stage). Singles for Timely ("Baptize Me in Wine") and Mercury's Wing subsidiary (1955's otherworldly "[She Put The] Wamee [On Me]," a harbinger of things to come) preceded Hawkins' immortal 1956 rendering of "I Put a Spell on You" for Columbia's OKeh imprint.

Hawkins originally envisioned the tune as a refined ballad. After he and his New York session aces (notably guitarist Mickey Baker and saxist Sam "The Man" Taylor) had imbibed to the point of no return, Hawkins screamed, grunted, and gurgled his way through the tune with utter drunken abandon. A resultant success despite the protests of uptight suits-in-power, "I Put a Spell on You" became Screamin' Jay's biggest seller ("Little Demon," its rocking flip, is a minor classic itself).

Hawkins cut several amazing 1957-1958 follow-ups in the same crazed vein -- "Hong Kong," a surreal "Yellow Coat," the Jerry Leiber/Mike Stoller-penned "Alligator Wine" -- but none of them clicked the way "Spell" had. DJ Alan Freed convinced Screamin' Jay that popping out of a coffin might be a show-stopping gimmick by handing him a $300 bonus (long after Freed's demise, Screamin' Jay Hawkins was still benefiting from his crass brainstorm).

Hawkins' next truly inspired waxing came in 1969 when he was contracted to Philips Records (where he made two albums). His gross "Constipation Blues" wouldn't garner much airplay, but remained an integral part of his legacy for quite a while.

The cinema was a beneficiary of Screamin' Jay's larger-than-life persona in later years. His featured roles in Mystery Train and A Rage in Harlem made Hawkins a familiar visage to youngsters who never even heard "I Put a Spell on You." He died February 12, 2000 following surgery to treat an aneurysm; Hawkins was 70.

Source: Bill Dahl

[projazznet]

Billy Cobham – The Art Of Four

“With 2004’s Art of Five, the fusion drums pioneer Billy Cobham indicated that his mid-life return to his bebop roots was a hot ticket. And this album proves to be another, with a fizzing Cobham driving a pedigree postbop band featuring alto saxist Donald Harrison, short-lived pianist James Williams (on one of his last recordings) and the bass legend Ron Carter. Most of the material here is original, and the improvisation is often scorching – Williams’ jubilant sweep across bop, modalism and Cecil Taylorish abstraction in particular. Good for the Soul and Cissy Strut have a heated Art Blakey atmosphere. Harrison and Williams play solos of such fresh phrasing that they almost seem to reinvent the postbop language, and a fast The Song Is You has Harrison in biting Jackie McLean mode over fiery drumming. Carter’s Last Resort is like a sardonic Stan Tracey piece, and Williams’ Four Play is a rugged, Breckerish tour de force of fast blues. It’s four stars for the blowing quality alone.” – John Fordham/The Guardian.