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Sitarfixer

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Reply with quote  #46 
Simply magnificent ! ! ! Well done ! There are loads of Kanai Lalisms scattered about this beauty. The clarity and depth of carving is obvious. The originality of carving design and the nice touches in the trim all add up to Kanai Lal quality. Scott Hackleman will enjoy bringing this gorgeous creature up to its full potential and you will enjoy the results of his excellent jawari skills. Keep us posted, you lucky dog ! !
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cwroyds

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Reply with quote  #47 
Yippee Yahoooooooo!!!!.
That was the opinion I was waiting for.
Tony K has the knowledgeable eye to give the final word, in my eyes.
Thanks for the vote of confidence Tony.
I will say hello to Scott from you.
Now I am happy...
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Lars

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Reply with quote  #48 
Quote:
Originally Posted by "cwroyds"
.
My favorite part of my collection are my Grandfather's saxophones.
He played with Jack Teagarden WAAAY back in the day and had his own band "The Wes Pear Five".
I have his cute little Soprano Sax (Curved, not straight, odd and rare) , and an odd "C concert" Sax.
The "C" concert is in between the modern Alto and Tenor. They are not used anymore.
I am trying to get my uncle to give up the incredible Silver Tenor Sax. (gonna have to wait for that one)
Hey Carleton, well maybe a bit OT but I haven't heard the name Jack Teagarden for years. My grandfather (a stride pianist) knew him also along with Louis Armstrong, Duke, Billie Holliday...all regulars at his house back in the day. There was also a guy who played in your area name Wingy Manone (trumpet)....
As for the C sax, was that a "C melody" soprano? Sidney Bechet used one I think, he was my grandfathers favorite, much like the Nikhil Banerjee of the jazz world...
Fun stuff!

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cwroyds

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Reply with quote  #49 
Lars,

Who knows, maybe our Grandfathers jammed together way back when.
My GF was based in Boston and New York back then, so Im sure he met a ton of musicians of that era.

The "C Melody" Sax is right in between an alto and a tenor in terms of size.
I think it was developed to play in marching bands so there was no "Key" confusion.
It is an odd duck. They dont really make it anymore as a rule.

The other one is a really sweet instrument.
It is a Soprano sax but it is curved like a normal sax. (Not straight like Coltrane's sax or like a clarinet)
It is so sweet. Like a toy almost.
Huge sound though. Very very loud.

And YES, Sidney Bechet was " like the Nikhil Banerjee of the jazz world". (oddly true analogy)
Great great player.

I used to play Sax in my teens. I took jazz lessons for years from a nice dude named Hal Tennison.
I think his biggest claim to fame was being the band leader for Dinah Shore (jeez).

Unfortunately I sold my sax to buy my first guitar.
I should have kept it.
I am still a Coltrane man at heart.
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cwroyds

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Reply with quote  #50 
Wikipedia describes the "C Melody" Sax as follows:

The C melody saxophone is a saxophone pitched in the key of C, one whole step above the tenor saxophone.
The C melody saxophone was part of the series of saxophones pitched in C and F, intended by the instrument's inventor, Adolphe Sax, for orchestral use.
It is no longer produced; since 1930, only saxophones in the key of Bâ™­ and Eâ™­ (originally intended by Sax for use in military bands and wind ensembles) have been produced on a large scale.
The C. G. Conn Straight-Neck Tenor in C is the most common of the actual orchestral saxophones and has a more classical sound and plays in tune throughout the instrument's range.
This is one of the few models actually made for professional use. Cheaper, novelty C melody saxophones were marketed from the late 1910s through the early 1930s as a version of the saxophone intended for amateur use, in homes, schools, and town bands. It was made with a bore considerably narrower than that of the Bâ™­ tenor saxophone, being more or less a "stretched" version of the alto saxophone bore. One selling point was the fact that the player could read regular music in the key of C (such as that for flute, oboe, piano, or voice) without having to transpose or read music parts that have been transposed into Bâ™­ or Eâ™­, as most other saxophones would require. This enabled amateur musicians to play along with a friend or family member by reading off of the same sheet of music. A second selling point was that the C melody produces a smaller, quieter tone than the Eâ™­ alto or Bâ™­ tenor. Many novelty tunes, most influenced by 1920s dance music, were written specifically for the instrument.
The C Melody was the saxophone most commonly associated with famed performer Rudy Wiedoeft.

By the late 1920s, however, it had faded dramatically in popularity. Sales of all saxophones fell after the U.S. stock market crash of October 1929, and the C melody was one of several models that were terminated from production soon after. In the 1960s, Vito produced a few C-Melody saxophones, though it is thought that they manufactured less than 20.

Some early jazz players got their start on the C melody, including Benny Carter and Coleman Hawkins, though Carter eventually moved to the alto, and Hawkins to the Bâ™­ tenor. The most famous C melody player was Rudy Weidoeft. Although he played alto and soprano saxophones as well (the latter in ensembles with Arnold Brilhart, Alford Evans, and others), he made his most famous recordings on the C melody, and was a significant factor in the saxophone craze that resulted in so many C melody instruments being sold in the 1920s. Another famous C melody player was Frankie Trumbauer, a jazz player who was known for his superb technical ability on the instrument, if not for his skills at jazz improvisation.
A few modern-day saxophonists occasionally perform on C melody instruments, including Anthony Braxton, Scott Robinson, Rick Arbuckle, and Joe Lovano.
Despite the fact that they have not been manufactured in over 75 years, C melody saxophones are readily available today, due to their limited use and the sheer number that were produced in the early 20th century. They can be found at stores that carry used instruments, tag sales, rummage sales and pawn shops across the United States.
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TBo22

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Reply with quote  #51 
very interesting thread....I have wondered about the choice of keys for saxophones, and never would have expected to find out about it here.....pleasant surprise!
...having been a big fan of low frequencies for many years (bass playing, bass recorder, and Didjeridu), I began looking at contra bass saxes in much the same way that I like to look at vintage sitars, marveling at the designs and admiring the craftmanship.
Seems like there are only a few of them out there, and they represent that fanatical dedication to chasing down the sound that one has to hear at various phases of musical exploration.....an obsession that is quite familiar to me......

Well, thanks for the post. I look forward to hearing some sound clips of the KL when you have it set up.

T
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