PLAYING SOLO: THE CHALLENGE OF THE SINGLE LINE PERFORMER

In a certain sense the idea of a “solo” performance is inimical to one of the basic premises of jazz: group collaboration and interaction. When one considers the innovations and milestones of jazz history, it is invariably centers upon a great soloist such as Parker or Coltrane within the context of a group(s). It is true that to some degree the piano and to some extent, guitar are famously suitable solo instruments. The notion of a horn performing solo for more than an obligatory cadenza in jazz has in recent decades become more common. Artists who made solo performances a large part of their oeuvre such as Steve Lacy, Albert Manglesdorf and Anthony Braxton come to mind. The question is what are the considerations for this type of performance to be successful?

A solo line player must be aware of all the instrumental and musical tools available in three distinct ways: technically, compositionally and emotionally. He has to display virtuosity on his instrument, be thoughtful in his presentation and of course, passionate. An audience is less forgiving for a solo performer since all the attention is centered on one individual rather than several….CLARITY is the mantra.

TENSION AND RELEASE

In any artistic process, tension and release are guiding factors. It is the yin-yang principle put to practice, implying opposites. In art the dialogue between opposing pairs is constant whether purposely stated or not. The very fact that a musical action occurred is recognizable only in relation to the degree of its opposite. The artist has the choice as to whether (s)he wishes to achieve balance or not because a statement left unanswered can be powerful also. As well, there is something of value in concentrating on one musical idea only and maintaining that singular color or mood for the length of a performance. The main point is that the solo line performer (without the benefits of direct harmonic colors) must consider what is possible and make clear choices.

Musical pairings such as loud/soft; fast/slow (rhythm); angular/smooth (melodic shapes); dark/bright (sound); active/at rest (motion) are examples. The single line player, as soon as one note is uttered, is automatically committed to some aspect of a particular pairing since there are no other musicians to offset the musical choice one makes. Artistically, the challenge is how subtle the artist can be in exploring the “grey” areas between and around opposites to sustain interest. With a typical small group of three to five players, the combinations are endless. One of Miles Davis’ strongest attributes was his awareness of tension and release not only in his own playing, but more importantly in how he paced the music within his groups over the years. But the solo artist has nowhere to hide!!

Since the solo line player has only himself to “interact” with, (s)he is responsible for making clear choices. As mentioned, it is crucial to sustain the attention of the listener since with no other instruments playing and all eyes and ears riveted on an individual, the “boredom” factor has to be addressed. Keeping a listener’s attention concerns balancing change versus sameness, surprise coupled with expectation and generally how to keep things moving in a loose and spontaneous atmosphere. Yet at the same time, concentrated development of singular ideas are essential for drawing the listener in. It is quite a challenge when one considers all these factors.

MUSICAL ELEMENTS

Besides the standard musicological triumvirate of melody, harmony and rhythm, I add color (sound and texture) as well as form (order of events) to the elements of music. These last two are indispensable to the solo line player because there is no recourse to chords (outside of multiphonics, etc.) or as in the case of some instruments, color supplied by pedals, reverbs and the like. Textural changes within the soloist’s capabilities are extremely important in establishing interest and mood. Use of other subtle musical tools such as dynamics, expressive devices and articulation are crucial for determining the musical texture. Form in this context means the overall architecture of a performance. The single line player is essentially speaking on a one to one basis to the listener. Choices of specific musical materials and the order of their presentation/development are crucial when addressing questions of form. In a certain sense, form may be the most important element of music from the listener’s standpoint. For the solo line player especially, understanding form’s implications is crucial. For example, what musical element if emphasized, would be most beneficial at a particular juncture of the performance to enhance the listener’s interest?

THE “GRAND GESTURE”

A performance of any sort is basically comprised of units which I call gestures which can be small or large in nature. Each gesture consists of a purposeful movement, an action that is singular and clear. Gestures come in gradients loosely described in terms of light (gesture), grandiose, ambiguous, clear and so on ad infinitum. The solo line player is constantly juggling small and large gestures in a dramatic way, because being unaccompanied, every action is highlighted. This is the great challenge of solo playing; awareness and discreet use of all kinds of gestures.

Finally, the solo line player is stripped naked in front of the world, emotionally speaking. There is nowhere to hide-no drums covering up, no chords clouding the melodic intentions, etc. The solo line player must be brave and confident as well as a consummate artist.

by DAVID LIEBMAN

It is the ultimate goal of any instrumentalist to have your instrument become an extension of your body. In order to achieve this, you need to be as relaxed as possible. Playing the saxophone isn’t much different from speaking or singing. In both cases, you are controlling the shape and intensity of the air stream by using your vocal chords. Just as you impart nuance when you speak, you will also do so automatically when you play your horn, so that the saxophone is truly an extension of your voice. In order for that to happen you need to let the vocal chords do what comes naturally. You don’t want to impose any tension on them that will interfere with their ability to function.

It’s also important for the technical aspects of playing to occur naturally with as little conscious effort as possible. This will facilitate musical expression since the player will be less preoccupied with what goes into producing a sound and be concerned with the actual music and expression itself. One key to unencumbered expression on the horn is establishing proper breath support. Breath support is necessary for not only enabling you to play a long phrase, but more importantly to support the sound, particularly in the higher register where the notes are much more sensitive to shrillness and pitch discrepancies. In order to achieve the highest levels of instrumental mastery, one’s breathing technique needs to be well established so that plenty of support is always available whether you’re thinking about it or not. Proper breathing involves three separate areas: the abdomen, the lungs (attached to the rib cage and described as the thoracic area), and upper lungs or shoulders (known as the clavicles). These areas work in one continuous flow, but while learning to use them it’s best to develop an awareness of each individual part. Following is a description of the movements involved.

The inhalation: As you breathe, imagine the air descending the same way water drains from a sink. The air enters your wind pipe and goes all the way down to your abdomen, which then expands. This expansion occurs in all directions … forward, sideways and even toward the back. Then as the lungs fill up with air, you’ll feel the rib cage rising slightly, followed by a slight feeling of the raising of the shoulders and upper part of the lungs. This shouldn’t be overt, but it’s something that you should feel. When you take this one breath, you’re engaging all three parts of the breathing mechanism – the abdomen, the mid and upper lungs.

The exhalation: When you blow, you’re essentially reversing the inhalation process by relaxing your shoulders and lungs which occurs without any conscious effort. Basically it is like pricking a balloon. But for the sake of the exercise exaggerate the last step by pulling the stomach area in to expel all the contents(air). The complete breath is an expansion and contraction, in a smooth, graduated three-part motion. Visualizing the movement of the air can be an aid to the exercise. Sometimes it helps to imagine that the air is a color, like blue or red. Visualize it entering your wind pipe, going down into the abdomen and expanding like a balloon. Visualize this process in reverse as you exhale. Take five to ten breaths like this twice a day. Try to reach a point where you are breathing deeply and smoothly.

After a couple weeks, add some resistance to this exercise, through one of the following methods:

Method 1: Lay on the floor face down. First push your abdomen downward for the inhale and then pull it up for the exhale so that you create space between yourself and the floor.

Method 2: While standing in front of a door or small wall area, put your hands on either side and pull the upper torso into the door using it as resistance for the inhalation. On exhale, a space should be created between your abdomen and the surface used.

Method 3: Lie on your back and have pressure applied to your abdomen, either by placing books or weights on your stomach or by having someone press downward with their bodyweight. When you take a breath while applying external resistance, the abdomen not only expands, but expands against a force which increases its strength. When you take the force away, that increased strength remains.

In actual plying you may not always need to take a deep breath. When playing pianissimo, you might take a shallow breath using only the lung and clavicle areas. However, in order to play a longer or louder passage, you may suddenly need to breathe from the abdomen. It’s something you should always be ready for because you never know when it will be useful. That is the purpose of doing breathing exercises vigilantly, at least for a certain amount of time until it becomes natural and intuitive. The truth is that as babies and children we all naturally breathe abdominally, but without specific use it is forgotten as a useful body function. We need to reawaken this natural gift. The side benefits of deep and natural breathing are well known to anyone who has practiced meditation. In general correct breathing is beneficial for overall general health.

OVERTONE EXERCISES (SUMMARY)-Dave Liebman

It is understood that the three part breathing regimen has been addressed followed by the basic exercise of playing scales, melodies, intervals, etc., on the mouthpiece alone, off the horn (for awhile using piano to check pitch accuracy).

PURPOSE: using ear and laryngeal feeling to “sing” pitches without horn.

1-Preliminary to get the feel of laryngeal/vocal cord placement: play octaves-hi to low; low to high; high to low to high; low to high to low, etc., done with and without the octave key.

PURPOSE: mimics the feeling of pitch placement in larynx and vocal cords.

2-Basic overtone production exercise: fundamental to overtone; fundamental to overtone, back to fundamental; start on overtone and slur down to fundamental, etc.

PURPOSE: beginning of recognition as to what it feels like in vocal tract when playing without relying on embouchure movement (lower lip, jaw, teeth all play their customary “below the threshold of feeling” roles.)

3-Matching exercise (MOST IMPORTANT) for pitch and timbre; fundamental to desired overtone to real fingering-(repeat this step as much as needed); overtone; back down to fundamental.

Variation: start on overtone and slur down to fundamental, etc.

PURPOSE: tuning and timbral imagination being used; you have to “explain” to yourself what is missing in the REAL fingering color as compared to the overtone fingering on a given note.

EXTENDED OT EXERCISES:

1-Vary sequence: off Bb for example go to third ot, first ot, to 4^th ot, etc.-PURPOSE: makes overtone placement less predictable.

2-“Lester Young:” from overtone to real fingering or visa versa as fast and smooth as possible.

PURPOSE: smooth transition between ot and real fingering-more difficult the higher you go in ot series.

3-Play from middle C all the way up WITHOUT octave key (scales, intervals, lines, etc); also play from middle C down WITH octave key open-do for a few minutes and then return to normal use and note the open feeling.

PURPOSE: This exercise goes under the category of EXaggeration (as in EXercise!!) to find a good norm when actual playing real fingerings,etc.

4-Lower pitch by using larynx (not lip drops); start with B down to Bb; B down to A; B down to Ab, etc.

PURPOSE: flexibility and “stretching” laryngeal feeling.

5-Bugle Call: besides doing bugle call on lower fundamentals (Bb to Db) use “false” fundamentals, meaning do that melody from D up to A; PURPOSE: quick overtone placement and adjustment.

6-Fales fundamentals: do matching, varying sequence etc., using D up to A as fundamental.

PURPOSE: Exaggeration again!!

7-Alternate fingerings: as you go higher up in the horn there are more false fingerings available; play a scale, line, intervals, etc., using all the overtones and without octave key as desired.

PURPOSE: very useful in “real” playing for color variations and laryngeal adjustments.

8-Palm key altissimo: starting from palm D play a major 6^th above and then a major ninth holding D; use all palm fingerings.

PURPOSE: Exaggeration of laryngeal feeling and useful in “real” playing.

9-Hold palm key fingerings and play all notes STILL sustaining the original pitch: hence overriding the tube (can be random fingerings); PURPOSE: Proof that if vocal cord/laryngeal feeling is happening the pitch is truly coming from the vocal tract and NOT from fingerings per se; demonstrates the true source of pitch is in the inner ear with adjustments at the embouchure as needed, etc.; fingerings are making use of the tube for “real” playing.

10-Double embouchure (double lip): play lines, scales, etc. with upper lip on top, with as light as possible downward teeth pressure; again for a few minutes, then return to normal playing and note the “open” feeling.

PURPOSE: exaggerated “open” feeling in vocal tract.

11-Detailed matching colors from one note to another: play A and then down a third to F and back to A with real fingerings; note any color change between the two and try to match either the F to the A or visa versa using all of above to adjust.

PURPOSE: timbral imagination at work.

These extended exercises (note EX as in EXercise and EXaggerate) should be done only when fundamental matching exercise is going well and part of daily routine; one overtone at a time!!

Do each extended exercise for a week or two before moving on; this is the “meditation” aspect of playing the horn. Sound color is everything and connection between ear-(inner hearing and imagination-chest and head tone recognition, etc.); mind-(directing energy to that part of the anatomy being used-vocal cords, larynx, etc.) and body execution (eventually muscle memory) is the goal leading to complete flexibility of tone color on every note at any time. Add the benefits of pitch discrimination, real time use of multiphonics, false fingerings, altissimo, etc.

by DAVID LIEBMAN

Maiden Voyage

The truth is that I came upon the soprano saxophone by chance. After exclusively playing the tenor from age twelve, I began my relationship with the soprano when landing my first full time job as a musician in 1970 with one of the early pioneering fusion bands, Ten Wheel Drive. This was an important step in my life, not only because of the soprano (although in the final analysis that was the most enduring aspect of that gig), but due to the fact that this band placed all the musicians on salary meaning this was a full time job. Up to that time, I played mostly on weekends and at summer resorts throughout high school and college enabling me to earn some extra cash money. But by the time I graduated from New York University in 1968 with a degree in American history, I had already decided that I was going to give music a chance but only on my terms. In other words, no more dance music at weddings or the like, only music where there was improvising in a jazz concept. Early fusion was an attempt to combine a jazz feeling and improvisation with rock ‘n’ roll rhythms so that style passed my so-called integrity test, at least at that time. In Ten Wheel Drive I was the only reed player along with several brass, a standard rock rhythm section and a lead singer named Genya Ravan who was very much in the Janis Joplin mode. The music combined aspects of Broadway show tunes, r & b and a little jazz influence. In any case, I was required to play tenor and baritone saxophone, flute and soprano. So upon completing the audition and being hired, I immediately went to 48^th Street in Manhattan where all the music stores are located and bought my first Selmer soprano saxophone with a hard rubber mouthpiece.

It wasn’t as if I hadn’t heard a soprano. Having seen John Coltrane’s group dozens of times in New York from 1961 until he died in 1967 I had definitely been inspired by the intense and individual way he played the horn. But for the most part, it was the tenor saxophone which was my primary love and I considered myself a tenor player first and foremost. As for the soprano, I just never thought of playing it and when the Ten Wheel Drive gig occurred, I still thought of myself as a tenor player who doubled on soprano along with the other reeds I played at the time.

 The Soprano Milieu in 1970

At present it is difficult for any jazz fan to envision a world with little soprano saxophone front and center. But in 1969, there were only two major living exponents of the soprano since Coltrane had passed in two years earlier. Of course, you could go back a few decades to Sidney Bechet, but I didn’t research him until much later. Any discussion of the modern soprano saxophone has to begin with Steve Lacy, who from 1967 lived in France for decades. Although he began on the clarinet, he became enamored of Bechet and another player on the soprano, Bob Wilber. By the early 1960s, Steve was immersed in the soprano playing some very notable music focusing on Thelonius Monk tunes for awhile, then collaborating with the early avant garde players like Roswell Rudd and Cecil Taylor. Lacy played only soprano and for that fact as well as his unique style, Steve had already carved a niche out for himself by the mid 60s.

But I wasn’t that familiar with Lacy’s music and his influence upon me was negligible. As mentioned, I saw Coltrane a lot from 1961 until his death and marveled at how differently he played the soprano than the tenor, using trills and tremolos as well as long legato runs with a tone reminiscent of the double reed family (oboe and english horn). There was as well a marked influence from the ethnic family of instruments, for example the Indian shenai. Like so many other young musicians, I was captivated by Coltrane and it was his direct influence that most inspired me to want to seriously play jazz. But that is another story.

By the late 60s with Trane gone, it was left to Wayne Shorter to pick up the soprano and be the next important voice on it. He did this while still playing with Miles Davis and in particular used the soprano when Davis began playing fusion music as recorded on “In A Silent Way” and the very influential “Bitches Brew”. Wayne didn’t sound like Coltrane at all. In fact, he played the soprano in a rather simple and melodic fashion with occasional bursts of fast runs. Needless to say, Shorter went on to make even more history with the group Weather Report and later his own music. But again I was not directly influenced by Wayne’s soprano playing, more so his tenor. So when I began to play the soprano in 1970 I had no direct link to anyone playing it nor did I consider it a serious instrument for myself. Little did I know what the future would hold for me and the “fish horn.” (That is a slang expression which refers to the soprano in a perjorative way).

 The Soprano with Elvin Jones, Miles Davis and Lookout Farm

When I became a member of the Elvin Jones Group in 1971 it really marked the beginning of my professional life as a jazz artist. This was a group that worked a lot, mostly in clubs playing several sets a night. So I was getting the chance of a lifetime to play all the time and with one of the most influential musicians in jazz (as well as in my life) from his nearly six years as Coltrane’s drummer. During this period I was living in a loft on West 19^th Street in Manhattan occupying the same building with Chick Corea and Dave Holland. There was non-stop music going on there with many musicians who are now famous cutting their teeth in long playing sessions. It was a center of sorts with the door always open to anyone who wanted to play at any hour. One of my closest associates during this period was saxophonist Steve Grossman. We were both heavily influenced by Trane, and in particular his final free jazz period. The two of us would play constantly on both soprano and tenor. When I got the gig with Elvin, within a few months Steve was on the band. Along with bassist Gene Perla we were together for nearly two years. Since Steve and I were so close it was a very agreeable situation in which he just naturally wanted to play more tenor. So a good deal of the material featured me on soprano as well as flute. This was the beginning of my playing a lot of soprano and I started to feel comfortable on it.

In the beginning of 1973 I joined Miles Davis’ Group, which was the pinnacle of all gigs as a sideman. I was in the line of Coltrane, Mobley, Shorter and others. It was a special time for me which I have discussed this in length in a book called Miles Davis and David Liebman:Jazz Connections (Mellin Press). In relation to the soprano, it once again naturally became the primary instrument for me during the sixteen months I was with Miles. This was not because he requested it, but due to the nature of the music in that group. It was very loud, electric, funk oriented and laden with two (and for awhile three) guitars as well as percussion, drums and electric bass. Although I used a pickup on my horns, hearing myself was a challenge and because of its higher range the soprano was more able to cut through the dense mass of sound. With Miles I began to discern the beginnings of an individual voice on the soprano saxophone.

In 1974 I ventured out on my own with my first group Lookout Farm. With two recordings on ECM (Lookout Farm and Drum Ode), the beginning of my solo career was launched and now the responsibility of directing music was on my shoulders. In the musical sense Lookout Farm represented the eclectic nature of my tastes. We played straight ahead jazz, re-arranged standards as well as Indian influenced music (tabla player Badal Roy was in the group for awhile) and some fusion. By now the choice from my complete arsenal of tenor, soprano and flute (even alto flute for some time) was according to the particular tune I would play. For the burning jazz tunes it would be tenor; for the funk and vamp type tunes the soprano; and for the ethnic influenced compositions I would use the flutes. This basic recipe went on through the period of Lookout Farm into a short lived fusion band that I had based in California (the Pee Wee Ellis-David Liebman Band) and further into the Dave Liebman Quintet which featured the young and unknown John Scofield and Kenny Kirkland (1978-81). It was a successful musical formula which persisted through all these bands as a way of handling all the various different material I chose to play. But by the late 1970s I was beginning to question the neatness and rigidity of this formula and a big change was on the horizon.

 Giving Up the Power Horn

There comes a point in an artist’s life that he or she must be objective and identify   the strongest aspects of their work. After the first flush of talent and success with all the dreams and desires accompanying that stage, there naturally comes a point in  development where concentration of energy becomes necessary and one can see that with increased focus greater gains may be realized. When I thought about my little neat instrumental recipe, I realized that in a given set of an hour when I played all three instruments it resulted in very few actual moments spent on each horn. It had always been clear to me that one of the most important aspects for attaining a high level was achieved by pure and simple instrumental virtuosity. The only way that is accomplished is by the sheer amount of man hours spent with the horn in your mouth. And that means ONE horn, because though the tenor and soprano belong to the same family of instruments, they are different in many ways. It was clear that the only way for me to advance further was to concentrate energy on one or the other horn. The soprano clearly prevailed for two reasons.

Even in the early days with Elvin and Miles it was apparent to me that I had a more individual approach on the soprano. Maybe it was because I hadn’t ever attempted to emulate anyone on that horn as opposed to the tenor, or that the soprano was an octave higher than the tenor which in my case made me hear differently. I even have considered some mystical reasons; that in a past life I had been part of a tribe in the desert playing some sort of straight horn (Jewish-Bedouin roots?). After all, my very first horn pre-dating the tenor was the clarinet. From a physical standpoint, the soprano seemed to fit my physique more suitably since I have a medium frame. All these feelings pointed me towards choosing the soprano. However, the mere idea of not playing the tenor was daunting. I had begun on the big horn and through Coltrane and Rollins for the most part, it was how I learned to play. What would I do without it? How would I get the power and intensity I valued so much in my music without the tenor? Also from a practical standpoint, would my reputation suffer, particularly insisting on doing record dates without the tenor?

The second argument swaying me towards the soprano had to do with my own sense of self identity. The tenor legacy was over fifty years old at this time beginning with Coleman Hawkins. There was much water under the bridge and in any case I couldn’t imagine anyone topping Coltrane in my opinion. Grossman and I had been among the first of the post-Coltrane generation saxophonists to absorb some of his concepts. With Elvin’s group we had established a way of playing that was already being emulated by others in the late 70s. I couldn’t see myself looking for the end of a rainbow forever. How could I ever leave my mark on the tenor? It seemed impossible. The soprano was basically untouched outside of Lacy, Trane and Shorter. There was room at the top and in 1980 I made the move.

 The Soprano Saxophone Itself

From the technical standpoint what characteristics separate the soprano from the other saxophones? It should be obvious to even the casual listener when one plays the horn ineptly, more so than on the other saxes. The soprano is not an easy instrument to use as a “double”, meaning only on a few occasions, like the clarinet or flute for example. It demands too much control and practice to be relegated to a subordinate position and still sound passable.

The main technical problems with the soprano concern tone production and intonation which are primarily caused by its small bore size. The body of the soprano is conical like the other saxophones except at the very onset of the flaring out it is exceedingly narrow. This means that an immense volume of air is being pushed through a very small space leaving little room for error. The same is true of the mouthpiece which is much smaller than tenor or even alto. This all equates to the necessity of a very focused air stream with great control that takes a lot of practice to accomplish. The ultimate problem is intonation especially in the high register because the speed and intensity of the air stream is magnified. A great portion of the soprano’s range places it in that area of sound where the pitches are produced by very fast oscillations.(If the A above middle C is 440 cycles, doubling that number for the next A gives you an idea of the speed of vibrations in the soprano range.)

An instrument should eventually feel like an extension of one’s body for it to be used as a reflection of an artist’s personality and ideas. There should be no lag time between thought, hearing and execution. It takes practice and discipline to get to this point on any instrument. Within one to two years of concentrating on the soprano my whole technique and comfort level had doubled. As far as being hired for other gigs, it was drummer Peter Donald who said to me something to the effect: “I’m hiring a person, not an instrument!” It was my job to make the soprano expressive and flexible enough to cover and surpass those areas left vacant by dropping the tenor and within a few years, leaving the flute also.

 Solo Soprano

The group I had from 1982 through 1991 was Quest which featured pianist Richie Beirach, bassist Ron McClure and drummer Billy Hart. With this group I returned to a pure jazz setting and a group of true peers. We played in a very improvised style, loose and intense with hardly any written music. The basis of the music was the long relationship I had enjoyed with pianist Beirach dating from the late 60s. We were especially tuned into each other harmonically and with Billy and Ron in the rhythm section it was in my opinion as well as critics truly a special combination. In fact it was Richie who encouraged me to focus on the soprano because in our extensive duo work together it fit well as a result of the sympathetic blend between the soprano range and the piano. Playing unison on the two instruments was beautiful. With Quest, the soprano  grew in flexibility and certainly in range as I began to go after the altissimo register (referring to notes above high F#) which is very difficult because of the intense embouchure pressure necessary. It is still something that I have good and bad days executing depending upon my own flexibility in the moment. Steve Lacy is a master of the altissimo.

Some insights began to occur on soprano during the 80s. I realized that I was putting the same amount of air into it as on tenor which gave me a big sound. I became associated with several mouthpiece makers continually striving for the right balance between the many aspects that go into making a mouthpiece feel AND sound the way you wish. They are quite different matters and one is forever trying to balance them. Without getting too technical the opening on my mouthpiece is quite large, nearly what a normal alto sax mouthpiece opening would be. I changed from the most common soprano instrument manufacturer which for the most part had always been the Selmer Company to a German horn called Keilwerth. Their horns had a bigger bore and a larger sound which for me was perfect since I was blowing with more intensity than most soprano players who only used the horn on occasion.

On the musical front, what started to happen was a combination of the soprano itself and the way Quest played. It was as if what I had heard Miles doing right in front of me in the early 70s was finally directly rubbing off. At times the horn felt like a trumpet meaning a more rhythmic and spacious approach. I began using the rhythm section in a conversational way rather than the more common accompaniment style. Also I played less eighth notes (the most common rhythm used in improvised lines) and began to play more against as well as over the ongoing pulse. This interest in rhythmic phrasing eventually supplanted my harmonic interests more and more as time went on. In 1985 I did a solo recording using only soprano overdubs called the” Loneliness of A Long Distance Runner” (CMP Records) which I feel is an excellent representation of myself musically and artistically. (It is by the way dedicated to Steve Lacy). In 1987, I recorded “Homage to Coltrane” (Owl-Blue Note-EMI) on which I rearranged some of John’s tunes doing them all on soprano. Meanwhile, except for a rare occasion and teaching purposes, the tenor stayed in its case for almost fifteen years.

With the formation of a new group in 1991 (the Dave Liebman Group), I concentrated more on complex arrangements, odd meters, electric as well as acoustic instruments and some ethnic influences. It harkened back to the eclecticism of Lookout Farm two decades earlier. I played the soprano exclusively with the new band through the mid 90s. By this point my work was recognized, if not among the wider public, then at least by my peers as being a body of soprano playing that was individual. I felt absolutely vindicated and righteous in the decision I had made in 1980. But change was soon upon me in the mid 90s.

 The Return of the Tenor

Over the intervening years, from time to time people would ask me about the tenor and I must say it was gratifying to hear from them that they missed my sound and style. But I really didn’t think about returning to it until the mid 90s. Part of the reason had to do with the normal passages of life as I approached fifty years old in 1996. That whole year had some notable events, recordings and publications which I felt were auspicious for the event leading me to reminisce a bit and think in a more general perspective concerning the soprano.

First of all, I probably had gone as far as I could on the soprano without spending an intense practice period to get to the next level, something which my life circumstances just did not allow for at the time. I considered fifty as a milestone of sorts and maybe it was time to address some unfinished business, mainly the tenor. Part of maturing is the freedom one feels from some of youth’s ego and identity problems such as being self conscious of your place in the pantheon of jazz or the feeling that I could never play like Trane so why bother on the tenor, etc. It just didn’t seem to matter anymore what anyone thought. I must admit that for the most part I hadn’t really heard anyone in those 15 years develop something on the tenor which really impressed me. The point seemed that if so many players were going to be derivative of each other, why not play the way I did since it was at least different from the majority of tenor players. I always knew that my tone was distinctive and identifiable, so I took solace in the various lines of reason and figured the field was clear to play tenor. For more specifics, I quote from my liner notes written in 1995 on the CD “Return of the Tenor”(Double Time):

 “…From recently recording on the tenor I could hear how differently I treat the two horns. I know for a fact that by being so close to Miles Davis’ playing for a few years in the 70s, I both consciously and subconsciously absorbed some definite “trumpetisms” on the soprano-in general a way of finessing the music by playing over, around and under it. To be honest, pushing a lot of emotion through the soprano by and large is not very attractive aesthetically to my taste. I have been guilty of it so I know!! In my better musical moments I have used the soprano as a kind of gliding voice, beguiling the rhythm section, cautiously “tiptoeing through the tulips”, but the tenor is different. It’s a wild animal, a bucking bronco. With it I tend to go more directly head to head inside the music. Maybe this translates to taking more chances, more densely packed lines and roughness as well as a greater use of overtone combinations in the sound. Also more vocalizations, freer and faster rhythmic groupings, a pronounced Rollins influence, etc. For sure, it feels like a major piece of machinery compared to the ‘fish horn’. In any case, the tenor is back in my arsenal”.

In summary I am glad that I took that fifteen year period to develop myself on  one instrument rather than spreading myself out. One way or the other, it seems to me that the soprano will always be the horn closest to my musical and personal identity, though I do enjoy the tenor which uses the full force and energy of your entire torso as compared to the soprano which involves more of the top part of the body exclusively.

by DAVID LIEBMAN

This book is the result of several decades of experience as a saxophonist and teacher. Much of the information reflects my experiences from studying with the master, Mr. Joseph Allard. As is the case with any great teacher, they should inspire you to do further research and hopefully develop original concepts of your own.

Since this book was first published I’ve been gratified to see the positive response it has received as well as several translations that have ensued. Also available has been a video/dvd, the “Complete Guide to Saxophone Sound Production” (Caris Music Services) which is in a sense the visualization of the text you have here. Obviously visual demonstrations of principles and exercises are helpful. But it is in this book that I have clearly outlined the physical and acoustical reasons why certain principles of tone production work. It is my contention that for a mature and serious student, understanding the reasoning behind a concept goes further than mere imitation and repetition for improving skills. If the mind can understand why and how something works there is a higher likelihood that real change and progress can occur.

My first experiences with Joe began as a teenager in New York City after I had studied locally with a fine teacher, Nat Shapiro, who taught me the basics of sound production, fingerings and technique. With Joe came principles and concepts, all eventually leading to the same conclusion which was to be physically and mentally relaxed on the instrument. He would say (in perfect French of course):  “To blow is to breathe, there is no difference.” The main idea was to train one’s imagination to hear the desired sound (timbre as well as pitch) in order to instigate those exact physical movements needed to obtain results, nothing more or less. For Joe, it didn’t matter what style of music you played, it just had to be musical.

In all honesty it took me years to comprehend Joe’s ideas. This was especially true for understanding the significance of the overtone exercises which are central to these concepts since they reinforce the principles through concrete examples. A real awakening occurred a few years after studying with Joe when I realized how the tone of the great artists all had in common certain characteristics: relaxation, evenness of sound, a rich and deep sonority, and most of all personal expressiveness

There is one main artistic premise underlying this book. It is apparent that tone on an instrument is the first level of communication perceived by the listener, preceding stylistic and musical elements such as rhythm, melody and harmony. An important objective for any instrumentalist should be to portray emotions and feeling through one’s tone. Similar to the way we use our voice when singing or in ordinary speech to express ourselves, one must recognize and isolate those parts of the body involved in the process. After awareness of what aspects of the anatomy are set in motion, the goal is to maximize one’s energy towards the most effective result. In truth, the saxophone is a relatively easy instrument to produce a sound. If bad habits lead to unnecessary tensions, there is less likelihood that the performer can discover his or her persona on the instrument, let alone perform at a high level, especially if you factor in all the normal considerations which go into playing music. Of course after the main principles are understood, each musician should and will naturally customize the concepts to fit their own personality, needs and technique.

This book (a new edition with minor additions) is meant to put any saxophonist, regardless of style on a firm footing without being at a disadvantage in the pursuit of a good tone and in the final result, enjoyment of the instrument.

– Dave Liebman

August 2004
Stroudsburg, PA
USA

by TOM ALEXANDER and DAVID LIEBMAN

There is no question that a good number of saxophonists suffer from a certain kind of insidious disease which can involve an almost obsessive searching for the “perfect” mouthpiece. Switching around from piece to piece in search of the “Holy Grail” mouthpiece becomes problematic because among other reasons (nuisance, time spent and money possibly) it means every time you try to adjust to a new set-up, your embouchure, throat, diaphragm etc. are also changing. Chances are there is not going to be any super “new magic bullet” in mouthpieces that will blow everything away. The reality is this:

The principles have been laid down for years starting from Otto Link, the physics are there and it is generally hype that some totally “new” piece will make some giant steps tonally. The main thrust of this in the past 20 years or so is that the pieces of certain makers emphasized super high baffle/super squeezed chambers in order to give the player a loud volume and bright color, but unfortunately at the expensive of BODY. Though this may be cool for Rock or Fusion players who could be looking for a specific type of electric guitar-like sound, for jazz players who interact with acoustical instruments, it is a kind of mirage. This implies attempting to get more brightness and volume to compete or compensate with the sometimes overwhelming amplified sound of a rhythm section, at the expense of not getting the full bodied tone the instrument was designed to produce. When you think about what was studied years ago with the respected teachers, weren’t they trying to have us play on set-ups that would produce a tone that contained both the lows and highs, control, body, a good blend with other instruments and focus?

The one rule to remember about mouthpieces (or reeds for that matter) is BALANCE. Just as in painting, there is a mix of colors we are after. If your palette has only screaming yellow or orange paint on it, all your canvasses will be rather limited in color. That could be an effect which could be fine for a minute, but is it something you want all the time? What about blue, green, brown, black and white in all their permutations? There is one underlying universal factor in all great music, regardless of idiom. That is tonal variation, which is a major reflection of artistic intent. So it seems that the wider the palette of colors the artist has to work with, the more artistic variation he/she has access to. In other words, the artist will not be boxed in due to a limitation of colors…and as artists, aren’t we looking for what will free, rather than restrict us in expression?

A similar phenomenon exists regarding the tools of the artist, in this case the saxophonist. If a player has a set up which by its inherent design favors a certain stratum of color, let’s say extremely bright and loud, in essence there is a limitation being imposed on his/her choice of expression. For example, if a Classical cellist, wanting to achieve a bright and loud tone only used an electric cello (by this I don’t mean a traditional one which is just mic’d, but with let’s say one with a radically thinner body), most likely a brighter, thinner sound would be the result. Now that might be valid for a specific type of new music for example, but would that be the sound you would want to hear in a symphony orchestra day after day?

In mouthpieces the parallel image might be a radically narrow body, super high, super small or oddly shaped baffle and/or squeezed chamber. Without much work, a piece like this might give the player loudness and brightness, Voila!… a kind of instant sound just like he was playing an electric guitar. And the saxophone player wanting to feel more power through volume and accompanying edge to hear him/herself better might at first be awed by a mouthpiece like this and feel “WOW, I sound so LOUD and BRIGHT!!”. Then, go back and listen to the recorded sound closely. In the end, what have you got? Most likely a thin, brash and possibly out of tune tone, as well as difficulty playing in the lower register and blending with other instruments.

One rule is that generally speaking, it is easier to make a bigger chamber/low-medium baffle piece play brighter than the other way around. You can see it right in the design, large and open vs. small and squeezed. Where is there any room to go? How can the horn be expected to resonate to its fullest breadth when the sound projected through it is narrow and thin? It’s kind of like trying to make a bell to resonate to its fullest by striking it with a car antenna instead of a mallet or playing a cymbal with a coat hanger.

This brings up another concept which is that the tone one gets from the instrument should originate from the player, with the equipment acting as the conduit of the artist’s expression to the listener. In woodwinds this means first and foremost the study and practice of long tones. That is the laboratory of TONE…where the player needs to spend hour after hour, year after year in defining and refining their own personal sound. I remember being inspired by stories of players I admired who were deep into playing long tones as the key to developing their tone, especially Charlie Parker and John Coltrane.These two geniuses seemed to have spent extraordinary amounts of time in the woodshed working with an almost religious concentration in the work of polishing their tones. In the case of Trane, it wasn’t that his tone was just “hip”. It went way beyond that, as if the tone itself had a message contained in it. I guess you could say it’s kind of like how a jeweler might work on the refining and polishing a precious stone. And when you get right down to it, the tone a player puts out is essentially what the listener will perceive as that artist’s IDENTITY, their calling card. And just as every gem stone has its on unique character, it needs to be worked from its unrefined state for that character to take shape and shine. The highly personal tones of these and other legendary players can be almost viewed as “gemstones”…rare, shimmering, luminescent, and unforgettable.

On the other hand, if a stone just doesn’t have much character to begin with and/or is not brought to life properly by the right methods and tools, uninteresting results will follow. Or you could say that one’s tone is like a photograph…because once people see it, they will most likely either be impressed positively, negatively or not much at all. Naturally we all want to look our best in photos…so why shouldn’t our tone reflect best we have to give inside as well? This comes from hard work and the right type of set up.

Now what role should the equipment play in tone production? It seems that starting with students to seasoned pros, a basic “middle way” is generally best.This means basically a medium chamber, medium tip opening (or more open for experienced players whose embouchures have been properly developed) and a medium strength reed. Naturally, this is not a fixed rule and some variation either way can be acceptable but this rule has generally been proven over time. The one advantage of the middle way is that you have the relative easier ability to go either brighter OR darker, softer OR louder than you would let’s say with a radically chambered/super open/soft reed or closed tip/very hard reed. Another critical advantage is that you have so much more control over the tone, intonation and what you play. With radical set-ups, the chances for problems of intonation, general control, squeaks, cracked notes or other difficulties in the lower register, unfocused or brash tone increase.

The exceptions would be for extremely advanced players who might be using a very wide open mouthpiece/very hard/very soft reed which is only valid because they would have the chops to control a mouthpiece like this and have such a developed embouchure that they can alter and shape the color of the tone at will. In this class, we could say Sonny Rollins on a wide open Berg Larsen (though he played a Link on earlier recordings and he probably never sounded better than on the Live at the Village Vanguard recordings of 1957 when he was it seems using a Link not as wide open), Wayne Shorter a 10* link (maybe a closer one now?), Steve Lacy a 12* and a few others. Once again, the key exception is that these cats had the chops to pull working a piece like this off.

However, it is also interesting to note that in the cases of some of the greatest tones ever made on the instrument we have the “middle way” in effect: Coleman Hawkins (Hawkins Special No. 6), Ben Webster-Tone Master No. 5, Lester Young-Tone Master No. 5, Trane in the period many consider to be his best, tonally speaking (i.e. 50’s-early 60’s), using a 5* Tone Master Link, Cannonball Adderley, a # 5 Meyer (same for Phil Woods), Joe Henderson-Selmer D or E, and similar set ups from other players with really unique signature tones.

One other thing to note is that great players can start with a relatively large chamber/low-medium baffle piece and get a good amount of harmonic edge from it through use of reeds and embouchure control. Cases in point? The ones that really stick out are Trane and Bird. They both found a way to make their pieces have more edge and projection; in the case of Bird through a very hard reed (#5) and embouchure adjustment and Trane through a 5* Early Super Tone Master, his own special embouchure and probably a hard reed. Both had huge sounds by all accounts, in large part due to their embouchure and use of harder reeds, not radically designed mouthpieces. The key to this was that their tone came from way down deep…an incredibly focused and high power air stream literally originating from their guts. It still amazes me how they did it since they didn’t have good mics or high baffles in those days. But they knew the secrets of air flow and projection and how to get the most out of the heart and soul of the reed. In this respect, they were almost magicians.

One of the greatest recent examples of this was Joe Henderson during his last years. His tone was just ALL ENCOMPASSING…an incredibly focused, huge, warm projection crowned by a halo of edge that just wrapped itself around the entire room. All this done on a medium chamber, medium tip opening mouthpiece with medium strength reeds!!! Joe unlocked the secrets of air focus and manipulating the tone to his artistic desire. He may have learned something about this from hearing all those players from the 40’s on out. Part of it too may have had to do with learning how to project in big band situations without a mic or almost no amplification. It may have made those players work harder to solve the problem of projection.

And let’s look through the Tenor Lineage. After all is said and done, have you ever heard hipper Tenor sounds made, starting from Hawk-Prez-Dex-Newk-Stan, etc. and ending with Trane/Wayne/Joe Henderson/Dave Liebman/Joe Lovano and the later cats, than when they have been on a vintage piece, great French cane (in the case of most of the earlier players and some now), and either a vintage or vintage influenced horn? The same story holds mostly true with Soprano, Alto, and Baritone. This doesn’t mean there aren’t players after the early greats with happening sounds on some different set-ups, but when you look at the whole general picture, what was the common denominator with so many of those legendary guys, equipment wise? It was Otto Link style pieces, great French cane reeds and Vintage horns. The amazing and hip thing about this is that even though the styles of the music and tones changed radically, they were all done on pretty much the same type of set-ups.

To me that indicates that the masters of vintage manufacturing from reeds to mouthpieces to horns hit on an incredibly versatile and stable formula for the set-up as valid 90 years or so ago as it is today. The only difference for most great players these days is in the mouthpiece. Many prefer a relatively more open tip (7-9 or so) and there are some who may prefer some degree of baffleization. Here we have enough technology to put people on the moon and incredible advances in production have been made. Yet is there anything out there now that sounds significantly better tonally than a Stradivarius in classical music, and vintage products used in jazz such as an Otto Link (as well as Selmer, Meyer, etc.), Steinway piano (same for classical), Gretsch drums or vintage saxophone (same for classical)? Not to say that we shouldn’t try to keep going to make advancements because there could be some improvements in response but like with music, the basics were laid down a long time ago and refining them is what it is all about. The tonal goal is: BODY, PRESENCE, POWER, SUBTLETY, WARMTH and COLOR. With these tools the artist has the chance to say something that is personal, individual and will stand the test of time.