[Liam Williams]

Located a player’s sax in Ann Arbor. Turned out seller Peter Kahn lived in town next to me as kid Summit/New Providence NJ and he went to Michigan University with Andy Stein sax and fiddle Commander Cody who will be my swing fiddle teacher in Aspen this camp summer. Sax sounds amazing. What a difference. It’s a players sax. Ugly but tone and action is there. Big difference from Yamaha 52 and Hawk. I carried it onto plane in Gator case, and raced to get to back of overhead so no one would pull it out by accident when grabbing there’s bag sitting behind. Of course Jerky steward was moving it around looking for space fir an oversized bag and I was ready to say something. The empty hard box case was checked and ripped. Yes you guessed it Mark VI 210xxx series. Wow fun time. Can’t post pic but imagine 60% lacquer less horn lol.

[Liam Williams]

Ouch. That steel guitar is not in tune. Not meaning any disrespect but that song would not have inspired me to take up either instrument if I didn’t know better. Lol

[Liam Williams]

👍🎷🎷🎷👌 good steel thanks Mark

[Liam Williams]

Thanks Mark. Sounds like fun. On my bucket list. I bet Lucky never realizes the big influence he has had on many players.
Had a blast incorporating the new sax maneuvers into white Christmas, born to run, and wonderful tonight, particularly leaving G# pinky down and right hand D when going to C# and back to D. Liam
Here is my pedal steel:

[Liam Williams]

Thanks Mark I am psyched on new tricks.
W Australia cool. Me, sitting on beach in Myrtle Beach SC, USA.
I wondered what happened to Lucky Oceans. Last time I saw him he was with Asleep at the wheel in Central Park NYC in late 70s Schaffer Music Festival. He was one of 8 top band inspirations to us at that time in 70s. We were stealing his licks. Interesting that he listened to sax solos. Where did all that time go. Lol. Thanks again, Liam.

[Liam Williams]

Thanks Saxomonica
Cool. Forrest really cool too. Very soft air control and never loses the note. Ps Johnny F and Ja Br citing of alternative fingering and rules got me thinking. Of course there has to be rules after all these years of sax development. So I googled and I found more rules. Like leaving right hand down “trick”
when going back and forth between D or E or F to C or C#. Wow. And leaving G# pinky down as it only affects G. These two “tricks” really help on the final walk up in the Born to Run solo. Also using side keys for all chromatic scale glissandos. Wow!!! I can brush downward but no help upward pitches. Exciting stuff. I had to share this with the community. Check out this jazz article summarizing them all. I come from a background of playing Pedal Steel Guitar which in relation to violin and saxophone is a extremely new instrument and the rules are still being formulated so it wouldn’t dawn on me to search for rules unless other members assisting me. Thanks again. Liam

http://www.jazclass.aust.com/saxophone/sax08.htm

[Liam Williams]

Hi Saxominia and Ja Br. Thanks to both of you for responding and the rules, they make sense. Great advice very much appreciated. I had only been using the C side key in pink panther measure 20 and it goes from C natural to B four times. But then I realized I could use it in the triplet in measure 9. That’s what got me thinking in connection with Johnny’s using the Alt low F# side key with the main F key. I could speed up my down chromatic glissando but I would have to brush my right index finger from the C side key off to allow the B note. Not sure if this is a legitimate technique used by advanced players consistently accurate. What I mean is I would brush the C side while left index is on B and my brushing would move to the B-flat side key when playing the B note before adding middle finger to A thus getting the Bb note and continuing brush off to A. Is this farfetched? I haven’t fully explored yet to make sure that it’s consistent and hitting Bb side doesn’t affect the intonation while producing the B note before hammering into A note. I do know that at least so far clearly separating my right hand index finger from the C to the B-flat side key withOUT a brushing stroke is more awkward up and down then bouncing my Left index and middle fingers between C and B and just using the Bb side key.

I haven’t really focused on trilling much so I can’t comment on that.

I think the one song that Johnny was using that alternate F sharp was in the blue sessions glissando. He had made a comment that without doing it that way it would be very difficult to do it fast

Thanks again to both of you for your input. Rules are really going to help. Looking forward to listening to Jimmy forest when my wife goes out because too many notes for her. Lol

[Liam Williams]

Ciao Ernesto Benvenuto. Come butta? Negli Stati Uniti e inzio il mio quarto mese con Johnny. Ti divertirai. Sto imparando molto. Su cosa vuoi concentrati? Cosa ti piacerebbe studiare? Tutto quello che devi fare ‘e sequire le lezioni e gli esercizi. Sono al punto in cui sto aggiungendo abbellimenti alle canzoni. In boca al lupo. Ci vediamo. Liam

[Liam Williams]

Thank you, ok, I will experiment with those notes until I hear the desired sound Liam

[Liam Williams]

Always great hearing those stories thanks for sharing Johnny.

Steve B created this magic in the studio which I hope to witness in a live performance but instead get served a watered down version. Is playing rock sax live on stage entirely different from the studio? Do the lows get lost and require upper register to pierce the wall of sound from multiple guitars?

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