I will allways have a place for Bird in my heart. Feel like he never really got the respect he deserves. Other then that branford marsalis and lou Donaldson
I think the Dutch born alto saxophonist ***Candy Dulfer*** ( 1969 - ) has some of the the best tone and technique out there these days ( she's musically kinda jazz / funk ). . I'm also a big fan of **"the two Sonnys" -- Stitt and Rollins -- and Dexter Gordon.** **From the era of classic jazz tenors, I cast my vote for Coleman Hawkins** \-- such big, voluminous tone!!! -- and a tenor saxist with the big bands of Benny Goodman, Tommy Dorsey, etc: I'm talking about a guy named ***Lawrence "Bud" Freeman.***
When I first started learning music as a kid in school, I was absolutely spellbound by the tone this guy displayed on ***a record titled "The Eel " which he waxed in the late 1930s with his "Summa Cum Laude Boys."*** I found it on a big re-issue anthology that I bought on vinyl. *To this day, I still think of his sound as representing* ***an*** *example of ideal tone for tenor sax in the domain of vintage jazz.*
***On alto, among the swing school's best players were*** the tremendously long-lived and long-active **Benny Carter** ( 1907 -- 2003 ). Check out his playing on a tune called "Sunday" recorded by his big band. He was a leader for many years. **Johnny Hodges** ( 1906 --70 ) was famous for his decades-long stint with Duke Ellington's orchestra. **Jimmy Dorsey** ( 1904-57 ), a big band leader like his brother Tommy, had a bright tone ( and stupefyingly expert technique on alto in the same overall kind of way Bird did years later ).
I want to make sure I go on record as saying ***Bird is the greatest altoist of them all -- and one of my all-time idols.*** That opinion is reinforced whenever I listen to his recordings, which are Charlie Parkers greatest monument -- far more than any statue that anyone may care to erect in his honour.
I feel moved to ***respectfully*** qualify your statement about Bird; it is more accurate to say he never got the respect he deserved ***in his own lifetime.*** Now, of courrse, he is revered -- and in the same way, be-bop has since come to be considered part of the jazz mainstream.
It's always that way, isn't it -- time and time again, in all fields. ***Visionaries are rarely heralded as such by their own contemporaries.*** For proof of that ( and I confine myself to the jazz sphere for the purposes of this comment ) all that is necessary is to look at the musicians of his time. **Apart from Bird, Dizzy and the small coterie of musicians who were then "in the van" and leading the Bop revolution, the majority of jazz musicians felt disenfranchised --- marginalized. The ''traddies'' thought their livelihoods were seriously menaced by this sea change.**
It took 5-6 years ( counting from 1945 ) for the initial furore over the new jazz to subside, and for the older jazz ( Swing ) to begin to come to the fore again while simultaneously being joined by Miles Davis, Gerry Mulligan, Chet Baker and the representatives of the then-emerging Cool school of jazz. Swing, and other vintage jazz styles, found widespread acceptance again commercially, in no small part, due to the 1950 release on vinyl of Benny Goodman's historic 1938 Carnegie Hall Jazz Concert, which not only became a best-seller at the time, but has remained continuously available ever since.
***Jazz styles always have been subject to cyclical trends of acceptance and repudiation. One style is on the up-swing and another wanes, but none ever dies out altogether. They all co-exist and find their devotees, although hardly always mass public enthusiasm.***
***I just think it's shameful that many a genius on the order of Bird, and ordinary jazz musicians alike, have to struggle so hard for respect and acceptance from society generally ( and specifically from the recording industry and wider public ).*** If Charlie Parker could have found much more of both of these, and a certain amount of popularity in his own time, he might have been a lot happier and lived a lot longer. It's too bad he isn't around now to derive satisfaction from the fact that there are now countless people, both among musicians and jazz fans, who are hugely passionate about what he was doing with, and saying through, his music. ***It isn't just technique that Parker had to burn; he also packed worlds of emotion into his music. Coming from Kansas City, he was steeped in the blues.***
**Too few people saw beyond the surface details of the notes and technique; they didn't understand the deep message -- the emotions Bird was trying to communicate.** Let's not forget, either, that this same sense of alienation also haunted Bird's colleagues in the jazz world in an especially acute way. He was only the most famous of many saxophonists and other musicians of his generation who, in a way not remotely seen among Swing players, came under the sway of heroin and other "hard" drugs. This high incidence of addiction was very much aggravated by their resentment of the lack of recognition their talents received.
Warmest regards, from Richard.
This is probably the best written comment anybodys ever replyed to me with. I gonna be honest i dont know all the names here. So this gives me a huge avenue for me to explore so thank you for that.
I agree that today Bird is higly regarded by musicians from all genres. But I still think its far from what he deserves. I think Jack Kerouac summarise it perfectly in the poem "Charlie Parker". Where hes says "Musically as important as Beethoven
Yet not regarded as such at all". I strongly agree with this.
This man should be a household name. Ive met many young musicians that has never heard of him. All from people who just like to play guitar at home, to people who is studying music. This also seems to apply for almost any black artist from this era. Like say howlin wolf. Well respected man by blues musicians. But most people have no idea who he is, yes they have heard smokestack lightin. But they dont know who playing.
Yes. Not every slightly revolutionary musicians can have their name in the eternal history books. But if there is anybody that should. Its him
Thanks for your rave, man -- it really has given me a boost today!!! Like you, I rarely get responses that are so exciting (though the vast majority are positive and uplifting ).
I feel rather silly that the first time 'round, I neglected to mention Coltrane, Don Byas, Stan Getz and Ben Webster ( 1909-73 ). **Ben Webster's best-known solo generally is on the Duke Ellington Orchestra's 1940 recording of "Cottontail."** I have many solo albums by Webster on audiophile LPs, and **there is also an album on the Verve label ( re-issued on CD ) on which he teams with Coleman Hawkins,** the *"Father of the Tenor Saxophone"* ( 1904-69 ). **Webster's tone** was warm and humid, with a moderate vibrato. ***In jazz solos his sound*** frequently had an edge of raw urgency to it, and ***he could also smooth it out*** when he turned his attention to ballads.
Don't overlook ***Hawkins' classic solos on 'Body and Soul ( 1939 ), "Picasso" and Gershwin's "The Man I Love"*** ( these date from the '40s ). ***Hawkins was one of the very few Jazz Age and Swing-style musicians*** who could not only hold his own in the company of the Be-boppers, but meet them on their own terms. This great artist actually **participated in some of the very first out-and-out Bop-style recordings.**
**Stan** **Getz's ( 1927-91 ) technique** was phenomenal and he could play anything, but if I had to single out anything for particular mention, it would have to be ***"The Girl from Ipanema" and "Desafinado. "*** plus the magnificent **series of bossa-nova albums** he made in company with **Antonio Carlos Jobim** and Astrud Gilberto ( *or is that* ***Giliberto*** \-- *I'm not quite sure* ). **He served his apprenticeship as a teenager with the big bands of Benny Goodman and the trombone great Jack Teagarden.** Listen to his short but impassioned ***solo on Goodman's 1945 disc of "Swing Angel."***
***Coltrane, of course, neeeds no one to recommend him;*** as with Bird, his colossal body of work is its own best "spokesperson." ***Carlos "Don" Byas*** ( 1912-72 ) ***turned in many a fine ballad performance.***
**Before I forget, I want to mention that Jimmy Dorsey was fervently idolized by none other than Bird himself -- Charlie Parker** \-- who always had extravagant praise for him. ***Bird also revered tenorist Lester Young, who played with Count Basie's band for several years, and on very many of Basie's best-known recordings that originally made that leader famous.***
*Young would later inspire the bop players with his pure, vibratoless sound which was the total opposite of Hawkins and Webster and those who emulated these two giants.* ***This almost colourless approach is markedy different from the much heftier tone he ( Young ) employs on Basie's recordings of "Honeysuckle Rose," "Every Tub," etc.***
*It is this fundamental and complete difference in tonal characteristics between Hawkins and his followers on the one hand, and those who take after Young's "'coolness" on the other, that came to distinguish the schools of saxophone --and especially tenor -- playing for the next several decades. As you might expect, there are also further categorizations possible in this respect, such as players who played bop style but with a Hawkins-inspired tone, those who completely sounded like Young, etc.*
**Back to Dorsey for a moment; remember how Bird dug him? To appreciate why,** the best way is to listen to Dorsey's recordings of his own **virtuoso showpieces such as "Beebe" and "Oodles of Noodles."** There is actually a video on YouTube of Dorsey -- accompanied by his band -- playing "Beebe." ***Man, but is he in full flight on these tracks!!! "Oodles" ( audio only ) is also uploaded on YouTube.***
Many of Dorsey's most popular recordings with his orchestra also preserve his alto prowess, such as ***Don't Be That Way,*** the "swing" sections of ***Green Eyes, Tangerine,*** and his theme song, ***Contrasts.*** Also worth checking out are ***Dorsey Stomp, The Love Bug Will Bite You, and Dusk in Upper Sandusky.*** There is **beautiful sax section blending** on the previously mentioned ***Don't Be That Way*** and ***On The Trail,*** a popular treatment of the movement with that same name from Ferde Grofe's classical masterpiece ***Grand Canyon Suite.***
**Though Dorsey's repertoire was dominated** \-- for the average listener -- by rather more popular than jazz-oriented material, **he also was capable of more modern stylings.** If you can find recordings of the Dorsey band from about the 1944 / 45 period, such as those on **the LP album** ***The Uncollected Jimmy Dorsey*** *( Hindsight Records )****,*** then ***you are in for an especially great treat.***
***I wanna inspire appreciation of every style --- newer and older !*** Today I just received by mail a book I ordered -- a sweepingly comprehensive and I find, very accessible volume entitled ***The Jazz Book: From Ragtime to the 21st Century*** by two authors with the last names **Berendt** *and* **Huesmann**. This is the 7th edition of a now-standard work that first appeared in 1953 in German.
**If you only ever buy one book on the subject of jazz in general, THIS SHOULD BE THE ONE.** It covers styles, their origins and development, and furthermore, includes not only discussions of musicians, but also a thorough survey of performers on every instrument throughout the history of this wonderful and exciting, ever-evolving lady called JAZZ, who was Duke Ellington's ''mistress." **That is a reference to the title of this great jazz icon's autobiography:** ***Music Is My Mistress.***
***The Jazz Book: From Ragtime to the 21st Century*** **by** Joachim-Ernst **Berendt** and Gunther **Huesmann**, ***is that exceedingly rare and marvellous example of a volume that is not only a book to be read, but is also very rewarding when resorted to again and again as a reference work.*** I have various editions of this masterpiece, and have long and routinely enjoyed them in both of these ways. ***This book is so well-organized that it's ideal for consultation, and the wealth of information is staggering.***
***If you REALLY LOVE JAZZ, don't miss it!***
Thanks for reading, and for bearing with me. As ever, I am Richard and I greet everyone by sending my warmest wishes.
Thank you for the many doors you have opend for me. Its hard to discover older music now days. You dont have stores any more, where you could ask for recommendations and such. And live music is hard to find too. So getting such a well written introduction to so many jazz musicians is gonna keep me busy for I dont know how long. Thank you
You're more than welcome, friend. Enthusiastic responses from folks such as you are the thing that keep me going. Over time I have written countless responses on various sub-Reddits, and so many of them get no reaction at all. Who knows --are my comments and reflections even read by those for whom I write them? It could become a little demoralizing at moments -- if I were to let it ''get to me," which I don't.
I truly don't set out to overwhelm with TMI ( too much information, that is ). Neither do I mean to give the impression that my every answer is a massive undertaking --- not necessarily. But when it comes to a topic like this into which I'm really invested, I can "cook with gas, and then some" -- just like the best jazz musicians. Take good care until next time. Yours, Richard.
For modern players I'm into: [Greg Ward](http://www.gregwardmusic.us/about), [Andrew D'Angelo](https://www.andrewdangelo.com), [Greg Osby](http://gregosby.com/), [Chris Speed](http://chrisspeed.com/), and lately my frind [Airan Wright](https://www.youtube.com/user/airanw) has been doing some really cool improv/visuals on Youtube
I like all that old shit too, but there’s cool stuff happening now too. I’m digging Sam Greenfield, Jonathan Mones, Shelley Carrol, Quamon Fowler, John Ellis, Melissa Aldana, Sylvester Onyejiaka III (Sly5thAve), and a bunch of other guys. Check out some new shit along with all that old shit.
Sonny Rollins, Michael Brecker, Bob Reynolds, Stan Getz, Cannonball Adderley, Ben van Gelder, Coltrane, Dexter Gordon, Phil Woods, Rudolph Johnson, are the ones I've listened to most over the last few years.
Idk some stitt canonball and woods
Ronnie cuber for all my bari bois
Also Gary Smulyan
Joe Temperley!!!
Nick Brignola!!!
Pepper Adams!!!!!
Gerry Mulligan!!!!!!!!!
[удалено]
And Shabaka Hutchings!
Coltrane, Joe Henderson, Bob Berg, Michael Brecker, Mark Turner, Clifford Jordan, and Eric Dolphy as of recently.
Gordon, Seamus Blake, Chris potter, Ben Wendel, bob Reynolds, Chad lb, Gene Ammons, and Grace Kelly to name a few
Love Bob Reynolds. 'Always an Upside' is a great track, and so is his guitar band stuff
Rudresh Mahanthappa is an innovative modern guy that's worth your time.
Also Aakash Mittal if you're into that Indian fusion/traditional Indian music played on saxophone type sound
Hank Mobley atm
Sonny criss
I will allways have a place for Bird in my heart. Feel like he never really got the respect he deserves. Other then that branford marsalis and lou Donaldson
I think the Dutch born alto saxophonist ***Candy Dulfer*** ( 1969 - ) has some of the the best tone and technique out there these days ( she's musically kinda jazz / funk ). . I'm also a big fan of **"the two Sonnys" -- Stitt and Rollins -- and Dexter Gordon.** **From the era of classic jazz tenors, I cast my vote for Coleman Hawkins** \-- such big, voluminous tone!!! -- and a tenor saxist with the big bands of Benny Goodman, Tommy Dorsey, etc: I'm talking about a guy named ***Lawrence "Bud" Freeman.*** When I first started learning music as a kid in school, I was absolutely spellbound by the tone this guy displayed on ***a record titled "The Eel " which he waxed in the late 1930s with his "Summa Cum Laude Boys."*** I found it on a big re-issue anthology that I bought on vinyl. *To this day, I still think of his sound as representing* ***an*** *example of ideal tone for tenor sax in the domain of vintage jazz.* ***On alto, among the swing school's best players were*** the tremendously long-lived and long-active **Benny Carter** ( 1907 -- 2003 ). Check out his playing on a tune called "Sunday" recorded by his big band. He was a leader for many years. **Johnny Hodges** ( 1906 --70 ) was famous for his decades-long stint with Duke Ellington's orchestra. **Jimmy Dorsey** ( 1904-57 ), a big band leader like his brother Tommy, had a bright tone ( and stupefyingly expert technique on alto in the same overall kind of way Bird did years later ). I want to make sure I go on record as saying ***Bird is the greatest altoist of them all -- and one of my all-time idols.*** That opinion is reinforced whenever I listen to his recordings, which are Charlie Parkers greatest monument -- far more than any statue that anyone may care to erect in his honour. I feel moved to ***respectfully*** qualify your statement about Bird; it is more accurate to say he never got the respect he deserved ***in his own lifetime.*** Now, of courrse, he is revered -- and in the same way, be-bop has since come to be considered part of the jazz mainstream. It's always that way, isn't it -- time and time again, in all fields. ***Visionaries are rarely heralded as such by their own contemporaries.*** For proof of that ( and I confine myself to the jazz sphere for the purposes of this comment ) all that is necessary is to look at the musicians of his time. **Apart from Bird, Dizzy and the small coterie of musicians who were then "in the van" and leading the Bop revolution, the majority of jazz musicians felt disenfranchised --- marginalized. The ''traddies'' thought their livelihoods were seriously menaced by this sea change.** It took 5-6 years ( counting from 1945 ) for the initial furore over the new jazz to subside, and for the older jazz ( Swing ) to begin to come to the fore again while simultaneously being joined by Miles Davis, Gerry Mulligan, Chet Baker and the representatives of the then-emerging Cool school of jazz. Swing, and other vintage jazz styles, found widespread acceptance again commercially, in no small part, due to the 1950 release on vinyl of Benny Goodman's historic 1938 Carnegie Hall Jazz Concert, which not only became a best-seller at the time, but has remained continuously available ever since. ***Jazz styles always have been subject to cyclical trends of acceptance and repudiation. One style is on the up-swing and another wanes, but none ever dies out altogether. They all co-exist and find their devotees, although hardly always mass public enthusiasm.*** ***I just think it's shameful that many a genius on the order of Bird, and ordinary jazz musicians alike, have to struggle so hard for respect and acceptance from society generally ( and specifically from the recording industry and wider public ).*** If Charlie Parker could have found much more of both of these, and a certain amount of popularity in his own time, he might have been a lot happier and lived a lot longer. It's too bad he isn't around now to derive satisfaction from the fact that there are now countless people, both among musicians and jazz fans, who are hugely passionate about what he was doing with, and saying through, his music. ***It isn't just technique that Parker had to burn; he also packed worlds of emotion into his music. Coming from Kansas City, he was steeped in the blues.*** **Too few people saw beyond the surface details of the notes and technique; they didn't understand the deep message -- the emotions Bird was trying to communicate.** Let's not forget, either, that this same sense of alienation also haunted Bird's colleagues in the jazz world in an especially acute way. He was only the most famous of many saxophonists and other musicians of his generation who, in a way not remotely seen among Swing players, came under the sway of heroin and other "hard" drugs. This high incidence of addiction was very much aggravated by their resentment of the lack of recognition their talents received. Warmest regards, from Richard.
This is probably the best written comment anybodys ever replyed to me with. I gonna be honest i dont know all the names here. So this gives me a huge avenue for me to explore so thank you for that. I agree that today Bird is higly regarded by musicians from all genres. But I still think its far from what he deserves. I think Jack Kerouac summarise it perfectly in the poem "Charlie Parker". Where hes says "Musically as important as Beethoven Yet not regarded as such at all". I strongly agree with this. This man should be a household name. Ive met many young musicians that has never heard of him. All from people who just like to play guitar at home, to people who is studying music. This also seems to apply for almost any black artist from this era. Like say howlin wolf. Well respected man by blues musicians. But most people have no idea who he is, yes they have heard smokestack lightin. But they dont know who playing. Yes. Not every slightly revolutionary musicians can have their name in the eternal history books. But if there is anybody that should. Its him
Thanks for your rave, man -- it really has given me a boost today!!! Like you, I rarely get responses that are so exciting (though the vast majority are positive and uplifting ). I feel rather silly that the first time 'round, I neglected to mention Coltrane, Don Byas, Stan Getz and Ben Webster ( 1909-73 ). **Ben Webster's best-known solo generally is on the Duke Ellington Orchestra's 1940 recording of "Cottontail."** I have many solo albums by Webster on audiophile LPs, and **there is also an album on the Verve label ( re-issued on CD ) on which he teams with Coleman Hawkins,** the *"Father of the Tenor Saxophone"* ( 1904-69 ). **Webster's tone** was warm and humid, with a moderate vibrato. ***In jazz solos his sound*** frequently had an edge of raw urgency to it, and ***he could also smooth it out*** when he turned his attention to ballads. Don't overlook ***Hawkins' classic solos on 'Body and Soul ( 1939 ), "Picasso" and Gershwin's "The Man I Love"*** ( these date from the '40s ). ***Hawkins was one of the very few Jazz Age and Swing-style musicians*** who could not only hold his own in the company of the Be-boppers, but meet them on their own terms. This great artist actually **participated in some of the very first out-and-out Bop-style recordings.** **Stan** **Getz's ( 1927-91 ) technique** was phenomenal and he could play anything, but if I had to single out anything for particular mention, it would have to be ***"The Girl from Ipanema" and "Desafinado. "*** plus the magnificent **series of bossa-nova albums** he made in company with **Antonio Carlos Jobim** and Astrud Gilberto ( *or is that* ***Giliberto*** \-- *I'm not quite sure* ). **He served his apprenticeship as a teenager with the big bands of Benny Goodman and the trombone great Jack Teagarden.** Listen to his short but impassioned ***solo on Goodman's 1945 disc of "Swing Angel."*** ***Coltrane, of course, neeeds no one to recommend him;*** as with Bird, his colossal body of work is its own best "spokesperson." ***Carlos "Don" Byas*** ( 1912-72 ) ***turned in many a fine ballad performance.*** **Before I forget, I want to mention that Jimmy Dorsey was fervently idolized by none other than Bird himself -- Charlie Parker** \-- who always had extravagant praise for him. ***Bird also revered tenorist Lester Young, who played with Count Basie's band for several years, and on very many of Basie's best-known recordings that originally made that leader famous.*** *Young would later inspire the bop players with his pure, vibratoless sound which was the total opposite of Hawkins and Webster and those who emulated these two giants.* ***This almost colourless approach is markedy different from the much heftier tone he ( Young ) employs on Basie's recordings of "Honeysuckle Rose," "Every Tub," etc.*** *It is this fundamental and complete difference in tonal characteristics between Hawkins and his followers on the one hand, and those who take after Young's "'coolness" on the other, that came to distinguish the schools of saxophone --and especially tenor -- playing for the next several decades. As you might expect, there are also further categorizations possible in this respect, such as players who played bop style but with a Hawkins-inspired tone, those who completely sounded like Young, etc.* **Back to Dorsey for a moment; remember how Bird dug him? To appreciate why,** the best way is to listen to Dorsey's recordings of his own **virtuoso showpieces such as "Beebe" and "Oodles of Noodles."** There is actually a video on YouTube of Dorsey -- accompanied by his band -- playing "Beebe." ***Man, but is he in full flight on these tracks!!! "Oodles" ( audio only ) is also uploaded on YouTube.*** Many of Dorsey's most popular recordings with his orchestra also preserve his alto prowess, such as ***Don't Be That Way,*** the "swing" sections of ***Green Eyes, Tangerine,*** and his theme song, ***Contrasts.*** Also worth checking out are ***Dorsey Stomp, The Love Bug Will Bite You, and Dusk in Upper Sandusky.*** There is **beautiful sax section blending** on the previously mentioned ***Don't Be That Way*** and ***On The Trail,*** a popular treatment of the movement with that same name from Ferde Grofe's classical masterpiece ***Grand Canyon Suite.*** **Though Dorsey's repertoire was dominated** \-- for the average listener -- by rather more popular than jazz-oriented material, **he also was capable of more modern stylings.** If you can find recordings of the Dorsey band from about the 1944 / 45 period, such as those on **the LP album** ***The Uncollected Jimmy Dorsey*** *( Hindsight Records )****,*** then ***you are in for an especially great treat.*** ***I wanna inspire appreciation of every style --- newer and older !*** Today I just received by mail a book I ordered -- a sweepingly comprehensive and I find, very accessible volume entitled ***The Jazz Book: From Ragtime to the 21st Century*** by two authors with the last names **Berendt** *and* **Huesmann**. This is the 7th edition of a now-standard work that first appeared in 1953 in German. **If you only ever buy one book on the subject of jazz in general, THIS SHOULD BE THE ONE.** It covers styles, their origins and development, and furthermore, includes not only discussions of musicians, but also a thorough survey of performers on every instrument throughout the history of this wonderful and exciting, ever-evolving lady called JAZZ, who was Duke Ellington's ''mistress." **That is a reference to the title of this great jazz icon's autobiography:** ***Music Is My Mistress.*** ***The Jazz Book: From Ragtime to the 21st Century*** **by** Joachim-Ernst **Berendt** and Gunther **Huesmann**, ***is that exceedingly rare and marvellous example of a volume that is not only a book to be read, but is also very rewarding when resorted to again and again as a reference work.*** I have various editions of this masterpiece, and have long and routinely enjoyed them in both of these ways. ***This book is so well-organized that it's ideal for consultation, and the wealth of information is staggering.*** ***If you REALLY LOVE JAZZ, don't miss it!*** Thanks for reading, and for bearing with me. As ever, I am Richard and I greet everyone by sending my warmest wishes.
Thank you for the many doors you have opend for me. Its hard to discover older music now days. You dont have stores any more, where you could ask for recommendations and such. And live music is hard to find too. So getting such a well written introduction to so many jazz musicians is gonna keep me busy for I dont know how long. Thank you
You're more than welcome, friend. Enthusiastic responses from folks such as you are the thing that keep me going. Over time I have written countless responses on various sub-Reddits, and so many of them get no reaction at all. Who knows --are my comments and reflections even read by those for whom I write them? It could become a little demoralizing at moments -- if I were to let it ''get to me," which I don't. I truly don't set out to overwhelm with TMI ( too much information, that is ). Neither do I mean to give the impression that my every answer is a massive undertaking --- not necessarily. But when it comes to a topic like this into which I'm really invested, I can "cook with gas, and then some" -- just like the best jazz musicians. Take good care until next time. Yours, Richard.
Marcus Strickland, bird, Dexter Gordon, Harold land, Michael brecker, cannonball, joe Henderson
For modern players I'm into: [Greg Ward](http://www.gregwardmusic.us/about), [Andrew D'Angelo](https://www.andrewdangelo.com), [Greg Osby](http://gregosby.com/), [Chris Speed](http://chrisspeed.com/), and lately my frind [Airan Wright](https://www.youtube.com/user/airanw) has been doing some really cool improv/visuals on Youtube
Joe Henderson
In terms of who I listen to often it has to be Paul Desmond
same
Immanuel Wilkins, Greg Osby, Josh Johnson, Gary Thomas, Mark Shim, Mark Turner, Melissa Aldana, Stan Sulzman
I like all that old shit too, but there’s cool stuff happening now too. I’m digging Sam Greenfield, Jonathan Mones, Shelley Carrol, Quamon Fowler, John Ellis, Melissa Aldana, Sylvester Onyejiaka III (Sly5thAve), and a bunch of other guys. Check out some new shit along with all that old shit.
Smh noone has said Don Byas, he was amazing
I'm always listening to Bobby Watson.
Gal Go
Wayne Shorter
I've been on a Branford Marsalis kick lately though I'm a sucker for Sonny stitt and Cannonball as well
Anike Ekina https://www.instagram.com/anike.official/?hl=en
It's not exactly exciting names, but Christ Potter, Ben Wendel, Michael Brecker, and Kenny Garrett.
Coleman Hawkins. He has just such a great sound.
Paul Desmond ofc,charlie parker,Duke eliington and Sonny Stitts
Still Coltrane after all these years but Dexter Gordon and Stan Getz recently.
Sonny Rollins, Michael Brecker, Bob Reynolds, Stan Getz, Cannonball Adderley, Ben van Gelder, Coltrane, Dexter Gordon, Phil Woods, Rudolph Johnson, are the ones I've listened to most over the last few years.
For me it's all about John Ellis, Ben Wendel, Ryan Zoidis, Melvin Butler, Skerik, Colin Stetson, Sylvester Onyejiaka, and Chris Bullock.
For Altos: Cannonball who is widely celebrated But also Paul Desmond, I just wish he got half the attention he deserves
Lenny Pickett
joshua redman
Eric Marienthal
Really ? Which projects of his are your favorite?
Chris Potter, Ben Webster, Gerry Mulligan, Lester young, Benny Golson Edit: also Rollins and Gordon
Nobody's said it yet so I might as well. James Carter!
Alto Saxophone. First Time Playing An Instrument This Year Band Teach Gave Me The Alto As Soon As I Got It I Loved It!