#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

[lipkisser69]

if jotaro didn’t know the word for saxophone player he could say “my dad is a saxist.” and then if he did i would say “oh is that where you get it from?” and we would both be confused because i misheard him and thought he said sexist and he doesn’t know what the fuck saxophone has to do with him

[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

[skautism]

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

[theloniousbach]

BACK TO SMALLS LIVE/MEZZROW’S (mostly) FOR TRIOS, PART TWO

MIKI YAMANAKA with Pablo Menares and Jimmy Macbride, SMALLS JAZZ CLUB, 23 DECEMBER 2024, 10:30 pm set

DAVID HAZELTINE with Neal Miner and Pete Van Nostrand, 4 JANUARY 2025, 9 pm set

RAY GALLON with Paul Gill and Kenny Washington, 12 DECEMBER 2024, 10:30 pm

My most recent contribution to this series was a 2024 retrospective which acknowledged the role that accessing jazz via streams rather than recordings shapes my general view of the music. That followed PART ONE of this immediate series wherein I revel in trios and the salutary role of drummers with MAMIKO WATANABE (with Rudy Royston) and SULLIVAN FORTNER (with Tyrone Allen) as my reentry into streams as writing prompts. So it is equally true that I look for and anticipate patterns that shape my streaming on a day to day level as I pick shows that would be fun to write about. While that has minimal impact on the general sweep of my aggregated listening, I observe it with curiosity.

Still, I try not to miss MIKI YAMANAKA with husband Jimmy Macbride when her monthly-ish late night gigs come around at SMALLS. DAVID HAZELTINE had the recommendation of a two night weekend run. And RAY GALLON, a stalwart whom I catch often but not always, had Kenny Washington. There’s some clusterthunking worth continuing the themes of PART ONE.

Fittingly, I liked MIKI YAMANAKA the best as she’s on my can’t miss list. Her playing is full bodied and driving, informed by a jazz nerd’s study of the tradition. She’s not at Emmet Cohen’s level, objectively in terms of technique and subjectively in terms of my hierarchy, as she listens and celebrates a slightly edgier part of the heritage. She did Vince Guaraldi’s Christmas Time Is Here which isn’t edgy but gave her/them something to dig into. She also played John Stubblefield’s Baby Man and Kenny Kirkland’s Chance as well as three originals. Jimmy Macbride is particularly sympathetic, but he’s a player of taste and imagination. In light of Royston and Allen recently, it paid to listen to how engaged he was in the overall sound.

DAVID HAZELTINE underwhelmed me early with a very spare left hand but by the end he had more power. Neal Miner filled in the gap more than capably, starting with the slinky blues of Buddy Montgomery’s How Now Brother Bob which seemed like it should have a vocalese version. I Wish I Knew was quicker but still spare and Darn That Dream was unrushed. But they closed out strong and even ran through the Rhythm Changes of The Theme for a couple of choruses before the exultant closing phrase. Pete Van Nostrand was oh so solid, but not as spectacular or forceful as the other drummers in this series. His best moment though was exchange with Miner when they locked eyes and amused one another.

RAY GALLON with Paul Gill always delivers a solid set that intermixes his solid tunes with favorites like My Old Flame and deeper dives like We Kiss In The Shadows from The King And I. What made this one special in anticipation and realization was Kenny Washington. He was subtle, even with some Billy Mintz minimalism, though louder, on a solo overwhelmingly on the snare drum. He wasn’t at all flashy but the audience noticed and was appreciative after every showcase. But it was his sensitive ensemble playing whether supporting Gill quietly or inflecting Gallon’s solos. He truly is a marvel and, given recent exposure to his interview with Jeremy Pelt in the Griot collection, articulate and intelligent.

I have postponed watching a show with baritone saxist Gary Smulyan given trio mode. But Ari Hoenig with his second trio (Tenor man Tivon Pennicot instead of Ben Tiberio) is tonight and the interesting Simona Premazzi has a recent trio gig with EJ Strickland as the drummer, so…..

[colouredtimetravel]

Saxist

[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

[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.

[davidpwilson2564]

Bloglet

Friday, March 3, 2023

Ron DeSantis has written a book.  He made a book tour stop in Florida.  Men in Trump merch showed up and disrupted this event.  Ron tried to have them removed.  The Trump crowd knows how to play dirty.  That’s what got him elected.  

The governor of Tennessee, a Mr. Bill Lee, is soon to sign a bill criminalizing drag performances (!)....  The “drag bill” is  big news down there.  

On hearing of the passing of saxist Wayne Shorter, I listen to “Free For All.”  A friend’s recommendation.  Extraordinary.  Great drumming by Art Blakey.  

Saturday, March 4, 2023

Trump closes CPAC with a nearly two hour rant.  Bringing to mind Fidel Castro.  Numerous lies told to cultists, who cheer him on.  Says he thinks being indicted (possible, but a long shot) could help his campaign.  Assures his MAGA crowd that he will run even if indicted.  They love the guy.  

Sunday, March 5, 2023

I lack the energy to go out to Queens.  I call my son and he talks me through a problem I’ve having with the computer.  Damn.  He grew up with computers so all of this comes easily.  I am a dinosaur. 

The problem with the computer: I was sent a contract for the spring ABT season.  I misfiled it.  Damn.  Kenichi helped me retrieve it.  So now I have it (I printed it out) but am still not sure if I will play in the spring.  I may have aged out.  

to be continued