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Twenty-Five Great Jazz Soprano Saxophone Performances | HuffPost https://www.huffpost.com/entry/twenty-five-great-jazz-so_b_146...
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register allowing them to play even higher.
It has been said that the great Sidney Bechet, a New Orleans born
classically trained musician, discovered a quality soprano
saxophone while on tour in England with Marion Cook’s Southern
Syncopated Orchestra, sometime around 1920. Bechet, who was a
world class clarinetist, wanted a solo instrument that could better
stand up to the louder brass cornets and trombones of the era. In
the soprano, he found that the bright, piercing sound of the
instrument had the strong, clear voice he was looking for and
people started to notice. Bechet is considered by many to be the
father of the soprano saxophone in jazz. While certainly the most
celebrated player of his era, he was not the only practitioner of this
quirky horn back in the twenties. The first record that I found
featuring Bechet on a serpentine soprano solo was from Clarence
Williams Blue Five recording of “Wild Cat Blues” recorded on July
23, 1923 in NYC. Boyd Atkins was famously heard several years
later playing a momentous soprano saxophone solo while with
Louis Armstrong and his Stompers on “Chicago Breakdown” from
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Johnny Hodges and Otto Hardwick to play soprano as a section
instrument in his orchestra, but on occasion the soprano was
featured as a solo instrument as with Johnny Hodges beautiful
work on “Harmony in Harlem” from 1937.
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had ties to the French language and to French colonialism in
hometown of New Orleans. It was here that Thompson, though
predominantly known as a tenor player, became more interested in
the soprano and would continue to pioneer its use in more modern
jazz. You can hear the man’s brilliant command of this difficult
instrument on such tunes as Ellington’s “In a Sentimental Way” from
his 1964 album Lucky Strikes.
By the late fifties and into the sixties another young saxophonist
was starting to go his own way on the instrument, abandoning his
Dixieland roots and focusing exclusively on the high register horn
with a more modern approach. Saxophonist Steven Norman
Lackritz aka Steve Lacy is perhaps best known as the soprano’s
modern-day Sidney Bechet. His debut album was aptly titled
Soprano Sax and was recorded in 1957. After playing with
Thelonious Monk he became enamored with the quirky pianist’s
compositions and rarely performed or recorded without including
at least one Monk tune in his repertoire. Lacy also adventured into
the avant-garde and the experimental music scene. His work and
the work of saxophonist John Coltrane on the soprano would
influence legions of players that followed.
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Twenty-Five Great Jazz Soprano Saxophone Performances | HuffPost https://www.huffpost.com/entry/twenty-five-great-jazz-so_b_146...
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instrumentalist ( not yet Rahsaan) Roland Kirk played a manzello
quite proficiently. The manzello is a King saxello soprano
saxophone with an extended bell. Kirk made his statement on the
instrument in the late sixties with his “A Handful of Fives.”
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trailblazingly beautiful. Perhaps one of his most memorable
performances for me was “Beauty and the Beast” from his seminal
album Native Son from 1974.
I could not have assembled such a well studied list without the
generous help of saxophonist, arranger and educator Bill Kirchner,
multi-reedist Scott Robinson, and saxophonists Michael Blake and
Dave Anderson. To them I offer my sincerest thanks. With the
above brief history, and acknowledging in advance to having
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Twenty-Five Great Jazz Soprano Saxophone Performances | HuffPost https://www.huffpost.com/entry/twenty-five-great-jazz-so_b_146...
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aware of, here are my picks for twenty-five great jazz soprano
saxophone performances in roughly chronological order:
Sidney Bechet “Wild Cat Blues” from Clarence Williams Blue Five;
Sidney Bechet, sop sax; Clarence Williams, piano; Thomas Morris,
cornet; John Mayfield, trombone; Buddy Christian, banjo.
Recorded in NYC 1923
Wild Cat Blues - Sidney Bechet with Clarence Williams' Blue Five
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Chicago Breakdown
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November 1, 1957 at Van Gelder studios in Hackensack , NJ with
Wynton Kelly, piano; Buell Neidinger, bass; Dennis Charles, drums.
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In A Sentimental Mood - Lucky Thompson
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Inflated Tear recorded November 27-31, 1967 with Roland Kirk,
manzello; Ron Burton, piano; Steve Novosel, bass; Jimmy Hopps,
drums; Dick Griffin, trombone.
Jerome Richardson: “The Waltz You Swang for Me” from his work
on the album Monday Night Thad Jones/Mel Lewis Orchestra live
at the Village Vanguard album from October 1968 recorded at the
Village Vanguard in NYC with Jerome Richardson, sop sax; Richard
Davis , bass; Thad Jones, flugelhorn; Mel Lewis, drums, Roland
Hanna, piano; Jerry Dodgian, alto sax; Seldon Powell, tenor sax;
Eddie Daniels, tenor sax; Pepper Adams, baritone sax; Richard
Williams, SnookyYoung, Danny Moore, Jimmy Nottingham,
trumpets; Jimmy Knepper, Garnet Brown, Jimmy Cleveland, Cliff
Heather, trombones.
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Thad Jones/Mel Lewis Orchestra- The Waltz You Swang for Me
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from Elvin Jones Merry Go Round recorded Feb 12, and December
16, 1971 at Van Gelder Studios, Engelwood Cliffs, NJ with Dave
Liebman, Joe Farrell and Steve Grossman, sop saxes; Elvin Jones,
drums, Gene Perla, bass; Jan Hammer, electric piano; Don Alias,
oriental bells.
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Here is a live performance of the group in France in 1972
unfortunately without the great Joe Farrell or Don Alias, and with
Steve Grossman on tenor.
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Elvin Jones Quartet - Bright Piece (Live video 1973)
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in Boston, Mass in Spring of 1973 with Grover Washington Jr., sop
sax; Bill Meek, Fender Rhodes; Charles Fambrough, bass; Daryl
Brown, drums.
Wayne Shorter: “Beauty and the Beast” from his album Native Son
recorded in 1974 with Wayne Shorter, sop sax; Milton Nascimento,
vocals; David Amaro, guitar; Jay Graydon, bass; Herbie Hancock,
piano and keyboards; Wagner Tiso, organ; Dave McDaniel, bass;
Roberto Silva, drums; Airto Moreira, percussion.
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Beauty And The Beast — Wayne Shorter - Native Dancer (1975) Vinyl LP
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Kenny Davern, straight sop sax; Bucky Pizzarelli, guitar; Geroge
Duvivier, bass; Bobby Rosengarten, drums.
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Passport - Ataraxia Part 1 & 2
Dick Oatts: “Ding Dong Ding” from the Mel Lewis and the Jazz
Orchestra with Bob Brookmeyer recorded live at the Village
Vanguard 1980 with Dick Oatts sop sax; Jim McNeely, piano; Rufus
Reid, Bass; Mel Lewis, drums; Bob Mintzer, Steve Coleman, Gary
Pribeck, Richard Perry, reeds; Bob Brookmeyer, trombone and
arranger; Earl McIntyre, John Mosca, Lee Robertson, Lolly
Bienenfeld, trombones; Earl Gardner, Larry MosesRon Tooley,
trumpets; Stepahnie Fauber, French horn.
Jane Ira Bloom: “The Man with the Glasses” from her album Mighty
Lights recorded at Vanguard Studios in NYC November 17 and 18,
1982 with Jane Ira Bloom, sop sax; Charlie Haden, bass; Fred
Hersch, piano; Ed Blackwell, drums.
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Jane Ira Bloom - The Man With Glasses
Chris Cheek: “Ice Fall” from his album Vine recorded 1999 with
Chris Cheek , sop sax; Brad Mehldau, electric piano, Kurt
Rosenwinkel, guitar; Matt Penman, bass; Jorge Rossy, drums.
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Chris Cheek - Ice Fall
Sam Newsome: “Toy Tune” from the Orrin Evans Album Grown
Folk Bizness released in Oct 1999 with Sam Newsome, sop sax;
Orrin Evans, piano; Rodney Witaker, bass; Ralph Peterson, drums.
Branford Marsalis: “The Ruby and the Pearl” from his album
Eternal recorded October 7-10th, 2003 with Branford Marsalis, sop
sax; Joey Calderazzo, piano, Eric Revis Bass, Jeff “Tain” Watts,
drums.
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Branford Marsalis - The Ruby and the Pearl
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You may also like to check out my Twenty-Five Great Jazz Baritone
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