Listening and watching this clip was so inspiring...He reinforced some things/ideas I had always thought of but thought were crazy to explain..He explained the role of patience and space in the music..He BROKE it DOWN !!! and i got it !!! ...I was able to implement this on my horn ...Remarkable !!! Thanks Dave and thanks to "thesamc" for posting
I always loved Sanborns playing, conception and committment to the music. Everything he sais is pretty interesting and personal. Just like his playing. KEEP ON DAVID. PS- illdey- David Gross was someone very cool and special.
the things people come up with, that's for sure! I use to put the played reed in a holder because of paranoia(reed getting split or something....but the more a person plays, the more they learn to take care of their stuff. I have the same book "Thesaurus of Scales and Melodic Patterns" that he mentions in the videos, even though I just got into it, it's already showing stuff I've never seen....then when playing it, it's like, "gosh, how come I didn't think of it before?"
Since he plays so often, the reed never dries out like he said. The only real reason for taking it off the mouthpiece is because when the reed dries out, it has a tendency to wave which could cause cracks. I like the Plasticover Rico Reeds because it plays well dry. Not using them in my vids though. They are very bright sounding reeds though, while Sanborn has a darker sound, and thus the wet reed suits him-no one can argue that one! :)
I found his commnts about leaving the reed on the mouthpiece until it dies very surprising. You read and hear so much about never to do this unless you want eternal damnation in saxophone hell. Just goes to prove that you should ultimately find what works for you and not get too hung out on what others say you should do. Something that takes a fair leap of faith in yourself. I guess that's the time when you become a creator and not just an imitator
saxophone hell? what was their reason for saying to not leave it on the mpc? Personally, I've been playing a fibracell on the tenor and sometimes soprano(the fibracell on soprano is too thin and bright sounding). Same thing with the Tenor, BUT, that's personal preference. There is nothing like a good working cane reed. :-)
I always soaked my reeds. I had a YS62 and a Selmer Mark 6 without a High F# key the YS62 had a much brighter sound and the high F# Key. The Selmer had a much deeper sound. I preferred the Yamaha. The Selmer I would have to play a forked F# which is hard compared to the F# key at the top.
I love you Dave. Correct me if Im wrong: youre in the Selmer Factory as a featured guest at a clinic, dont you think they would have fixed your broken spring for you? Rubber bands?
but hey...the 2 hour soak for a couple of weeks makes total sense...just got out of the loop a couple of months ago, not caring, because of fibracells....even though the one on my soprano is shrill....eck. Probably want as classical sounding on soprano you can get, with a little edge....
Something to do with distorting but then others just say "Whatever you do, don't leave the reed on.... yadda yadda" without saying why. The way I treated my reeds way back then at school must have just about made me the anti-christ!!
A master at work. A humble, tremendous talent
So, Interesting David's relationship with his horn. His wonderful alto sound is so unique ! Bravo for the Post. Big Thumbs Up !
Thank you so much for this great Video!! Sanborn is a Master
Listening and watching this clip was so inspiring...He reinforced some things/ideas I had always thought of but thought were crazy to explain..He explained the role of patience and space in the music..He BROKE it DOWN !!! and i got it !!! ...I was able to implement this on my horn ...Remarkable !!! Thanks Dave and thanks to "thesamc" for posting
Amazing!
What he say at 6,55 is so real!! ....great lesson!!
I always loved Sanborns playing, conception and committment to the music.
Everything he sais is pretty interesting and personal. Just like his playing. KEEP ON DAVID.
PS- illdey- David Gross was someone very cool and special.
If you've got any more of this please upload.
Russ
Very interesting! I like how that was put. :-)
the things people come up with, that's for sure! I use to put the played reed in a holder because of paranoia(reed getting split or something....but the more a person plays, the more they learn to take care of their stuff. I have the same book "Thesaurus of Scales and Melodic Patterns" that he mentions in the videos, even though I just got into it, it's already showing stuff I've never seen....then when playing it, it's like, "gosh, how come I didn't think of it before?"
Since he plays so often, the reed never dries out like he said. The only real reason for taking it off the mouthpiece is because when the reed dries out, it has a tendency to wave which could cause cracks. I like the Plasticover Rico Reeds because it plays well dry. Not using them in my vids though. They are very bright sounding reeds though, while Sanborn has a darker sound, and thus the wet reed suits him-no one can argue that one! :)
I found his commnts about leaving the reed on the mouthpiece until it dies very surprising. You read and hear so much about never to do this unless you want eternal damnation in saxophone hell. Just goes to prove that you should ultimately find what works for you and not get too hung out on what others say you should do. Something that takes a fair leap of faith in yourself. I guess that's the time when you become a creator and not just an imitator
When I was playing I would do the same thing with my reeds I'd let them soak in water.
Selmer is a French company. Why would you be surprised they wouldn't fix his horn....! God bless the U.S.A...!!!
saxophone hell? what was their reason for saying to not leave it on the mpc? Personally, I've been playing a fibracell on the tenor and sometimes soprano(the fibracell on soprano is too thin and bright sounding). Same thing with the Tenor, BUT, that's personal preference. There is nothing like a good working cane reed. :-)
I always soaked my reeds. I had a YS62 and a Selmer Mark 6 without a High F# key the YS62 had a much brighter sound and the high F# Key. The Selmer had a much deeper sound. I preferred the Yamaha. The Selmer I would have to play a forked F# which is hard compared to the F# key at the top.
Is there a DVD of this?
I love you Dave. Correct me if Im wrong: youre in the Selmer Factory as a featured guest at a clinic, dont you think they would have fixed your broken spring for you? Rubber bands?
Jason Kieswater , he only likes one person repairing his sax. Bill Singer In NY.
he was telling a story of a broken spring dumb shit ?
6:17 - Caleb Davis . . .. watch this part
@SaxInThaCity Sanborn has an incredibly bright sound though...
@hincapiej4 same here
but hey...the 2 hour soak for a couple of weeks makes total sense...just got out of the loop a couple of months ago, not caring, because of fibracells....even though the one on my soprano is shrill....eck. Probably want as classical sounding on soprano you can get, with a little edge....
nice song. wish he would play blues. Kenny g could but it's all about money.
Something to do with distorting but then others just say "Whatever you do, don't leave the reed on.... yadda yadda" without saying why. The way I treated my reeds way back then at school must have just about made me the anti-christ!!
He is not using the Selmer sound. You could get that same squeaky sound out of any horn with the same mouthpiece/reed/push.
he can play, but im REALLY not into his sound