Vincent Herring discography and songs: Music profile for Vincent Herring, born 19 November Genres: Jazz. Albums include Jazz for When You're Alone, Secret Love, and The Battle - Live at Smoke.
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No thanks. The Five Stages of Grief. Sympathy Advice. Your rating has been recorded. Write a review Rate this item: 1 2 3 4 5. Preview this item Preview this item. Alto summit. Subjects Jazz -- Saxophone music Jazz Jazz.
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WorldCat is the world's largest library catalog, helping you find library materials online. Remember me on this computer. Cancel Forgot your password? The concave table makes the tone full and the lives of the reeds long.
The facing curve begins at the split point of the side rails, as shown in the photo below. For the combination of a mouthpiece and a reed, it is the most important to make no leaks at the break points. The break points are fulcrums of the vibration of the reed. If there are any slight leaks, the reed can not vibrate efficiently. The sound become dull and stuffy and maybe with many squeaking error tones.
The concave table is the equipment which the high quality mouthpieces have traditionally to avoid the leaks at the break points.
When the reed is clamped on the concave table, the reed is bent slightly by the pressure of the ligature. This causes the reed and the mouthpiece to push against each other at the break points. Used reeds become warp by the moisture. It is the advantage of the concave table. It makes the tone full and the practical life span of reeds is lengthened. Some mouthpiece makers and refacers insist that the perfect flat table is the best design.
The perfect flat table is suitable with only the perfect flat reeds. But used reeds with flat back are very few. This is worthy of a whole other blog post to discuss, I love this stuff……….. Regardless of the discussion about the best surface for a mouthpiece table, I will admit here and now that I feel there is something special and unique about the Okutsu mouthpieces I have played.
There is a certain character and response that they have that is different than many of the flat table mouthpieces I have collected. The Okutsu Vincent Herring Custom mouthpiece had a tone full of character and substance in my opinion.
There was something about it I really loved. A graininess and richness to the tone. Not too much to cause discomfort but just enough that any slight adjustment or manipulation of the throat, tongue and mouth have an immediate impact and affect on the tone that is being produced. On the contrary of being unpleasant, this is a really cool feeling.
I loved it. The upside to the smaller chamber is that you get some good power and focus to the sound. The downside for me and my Selmer Reference Alto is that the smaller chamber tends to make the middle D,Eb,E and F notes on my alto a bit sharper.
The Okutsu Vincent Herring alto sax mouthpiece has a full powerful sound with loads of character in my opinion. Character can be tricky to define and describe, all I can say is that some mouthpieces are very pure sounding. Others, like this one have certain elements in the sound.
For me, it is like the difference of being blindfolded and rubbing your hand across a mirror and then rubbing across a stucco surface. The stucco feels more interesting and filled with character if you know what I mean. I really loved playing this mouthpiece. I used a 3 medium Rigotti Gold reed on this mouthpiece. There is a lot to say for breaking in a harder reed…….
The tone is even and smooth throughout the range of the horn. Easier than on many larger chambered mouthpieces………. Thanks to Ken Okutsu for sending me this mouthpiece to review. It was a pleasure to play it, to be honest, I had trouble putting it down after recording the sound clip today.
Steve Neff has been playing and teaching saxophone and jazz improvisation around the New England area for the last 30 years. He is the author of many effective jazz improvisation methods as well as founding the popular jazz video lesson site Neffmusic. Sounds terrific, Steve! Hey Steve, Not my favorite but as usual, you sound great on it! The sound is a bit too compact for my taste. I prefer something a bit more fat and spread. I play a Morgan Jazz 7M with Rigotti 2.
Just my ears! Thanks for the review. I am in the camp that finds this mouthpiece very compelling. Great response and tone. Hey Steve! Something about this recording told me you were really enjoying playing this mpc! Question is how do you compare this one to a Morgan Excalibur? From the description, it sounds like a very similar design and similar kind of sound. It played just as easily though. I think I remember it having less resistance also.
Jeff, No problem. Each person has there own preferences. I have a Vandoren V16 with a super long facing curve that gives me the ultimate fat and spread sound………Steve. I found this mouthpiece to have a very compact and focused sound. Steve used a 3 medium and for me that was way to hard… no character or flexibility, but it worked great for him. Its also a loud piece that can really project.
Steve thank you for the positive review of my mouthpiece. I know this price is high for some people, but keep in mind Ken is working on each mouthpiece by hand. He sends to me to test.
If the mouthpiece is not good I send it back to him to reface and work on more until it will be the best mouthpiece you can buy.
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. П - - burns. I couldn t lie, through the peace and love psychedelia of the Beatles, 2018. The Mars Volta are notable for fusing psychedelic music with Jazz fusionbear chested rockers standing between the drums. That s it for me I m going in a band, replicating the upright Phil Woods sound and even for playing other genres of music like rhythm and blues. I ve Had Enough 6 14. WOFFORD MIKE (P) San Antonio, Texas. 25/2/ Ha studiato pianoforte classico dai sette anni, ed a quindici anni si è accostato al jazz. Finiti gli studi ha deciso di fare la carriera del musicista, andando a Los Angeles e suonando con Shorty Rogers, Chet Baker, Art Pepper, Maynard Ferguson, Gil Fuller, nell'orchestra di Red Norvo,. This is a sizzling meeting of three fine alto saxophonists in a session co-produced by Vincent Herring and Carl Allen. Phil Woods is the acknowledged dean of the alto, and his smooth chops contrast with Herring's grittier tone on bop classics like "Blue Minor" and "Minority." The veteran creates a sensational mood on "Stars Fell on Alabama," while Herring matches him with a lovely take of 5/ Alto Summit ~ Release by Phil Woods, Vincent Herring & Antonio Hart (see all versions of this release, 1 available) Carl Allen (tracks 1–8) bass: Reuben Rogers (tracks 1–8) alto saxophone: Antonio Hart (tracks 1–8) Vincent Herring (tracks 1–8) Phil Woods (tracks 1–8) piano: Anthony Wonsey (tracks 1–8. Find Vincent Herring bio, music, credits, awards, & streaming links on AllMusic - An adept, soulful alto saxophonist who carries on. Phil Woods, Vincent Herring and Antonio HartPhil Woods, alto saxophoneVincent Herring, alto saxophoneAntonio Hart, alto saxophoneAnthony Wonsey, pianoRuben Rogers, bassCarl Allen, drumsTracks Blue Minor (Clark)2. The Summer Knows (Legrand)3. Minority (Gryce)4. Stars Fell On Alabama (Parish/Perkin. Sitemap Alfred Lion Interlude - Madlib - Shades Of Blue (CD, Album)
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