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Theory explains practice. Music is SOUND. Thanks for a nice way of looking at this sound.

That's a cool looking sax bro, what is it? I am trying to buy a new sax, this looks dope!

thanks Josh? So what's the deal with the so called "double-diminished" scale others are talking about? seems to be nothing more than an ordinary half-step/whole-step run-of-the-mill diminished scale!

I feel like a lot of the best jazz musicians don't pick one way or the other to think about it, but have spent so much time understanding how it works that they have multiple ways to think about it and hence multiple perspectives to approach it from.

Does Transcribe actually write the notes down below the wave form like at 8:45 or is it a superimposition?

I feel like this advice holds true regardless of what (wind) instrument you play. I’m not a saxophonist, but I could tell that when I switched trumpet mouthpieces from the one I got with my trumpet to the one my late grandfather used, my tone drastically changed for the better, and I’d practiced the same amount of time across both. Now I play on Granddad’s. Mouthpiece and all. Gotta keep his spirit alive, even if he’s been gone for 20 years.

hi, I fully agree with what you say that the mouthpiece is a personal choice and each of us has our own tone, but I must say that the set up is also important because it sometimes helps in a truly remarkable way, the emission of the sound, the dynamics etc.. but it is equally true that it has now unfortunately become a very expensive business

I am mostly a tenor player, and comfortable with an Otto Link with 6 opening. I am thinking of dabbling size 7* on alto which has the same opening at 0.09 inch as the tenor 6. Would you think for different tenor or alto instrument it is still a good idea to stick with the same opening you found a sound for?

Just discovered your channel man. Love your tutorials. You earned my sub.

Great stuff !!

I think Dex already did that

You could also play Cdim7 over Cmin because A B C D Eb and F are common. The consonance of a line is directly proportional to the number of common tones with the chord it’s played over.

This is Pat Martino exactly… over G7: Abm (b9), Bm (3rd), Fm (7th), Dm (5th)…. From most dissonant to consonant…Pats Linear Expressions, Dorian on all chords. Take some time and get under the fingers, it’s invaluable…

It seems like you are describing super locrian (seventh mode of the harmonic minor, not superlocrian b7 from melodic minor) thinking in terms of the minor chord one semitone up

I was just working with the chord changes in this one and I can hear them all in your lines. Well done!

His Ballads are magnificent

Getz and Zoot Sims were as good as anyone that ever played. Scott Hamilton is my Man

Love your tone. Excellent advice

Of course Dexter’s thing was SO laid-back he was in another time zone! That “sense of swung quavers” later in the phrase was because of his “ghosting tonguing”. Even 1/8 + appropriate ghosting/accenting = swing like a mofo! Thanks for the excellent vid!

use of space/timing/fewer notes but great, unexpected notes occasionally

I think a crucial part is that he strategically catches up with the beat. His on-beat hits punctuate the rhythm, highlighting important moments.

As with audio equipment. I have spent a lot of time getting my equipment that works for me. In those times sitting and auditioning various things I came across alot of people being taken in by voodoo magic. Things like raise your speaker cable off the floor and it makes a "massive" difference. As well as this gizmo is 10 times as expensive and your old gizmo so it must be alot better. I call it the placebo effect. Chasing the next "best thing" never ends with you coming in first. Just as in saxophone there is the voodoo magic as well. Spend $500 on a ligature and your sound will be amazingly better. Must get that silver plating because that is going to make the difference. Where what you say is right on... the sound really comes from you.

Listen to the tune "Shine" on his West Coast Sessions" album. (1955-1956). His technique is brilliant.

For a long time I never paid much attention to Stan, but then I came to love his interpretation of Brazilian music and Wow.

Spot on for me! My thoughts with Dave Speakman; th-cam.com/video/8iEyxa3XUoo/w-d-xo.html

Thank you!!! The jazz greats worked out ways to not work hard . Now, their secrets are exposed. I wish i new this 20 years ago. Amazing

Where is the pdf of this video ?:)

Hi there,whats your sax set up,you sound so good thanks Lou

Been listerning his muzik till now! Greetings from Jazzman Kuala Lumpur.

Truly spoken1

I am no. 666!

2:05 stank face 2:08 the "major 7th enjoyment" face 2:50 the "quod erat demonstrandum" face

Wow ! Great Lesson …more videos on melodic cells please any artist from bebop to modern ..

Love how you analyse your heroejazzsaxplayers .Really exeiting. WOW

Wow, I thought the answer was just "side-slip" I'm glad I watched

Have you listened to Getz with Cal Tjader? His up tempo solo in Ginza Samba is insane. The whole band is all star, with Billy Higgins on drums, Vince Guaraldi on piano and Scott La Faro on bass. On the waltz ballad ' Liz Anne', Getz plays a masterpiece solo that has constant achingly wide intervals and lyrical beyond belief. Knowing Getz, and those band members that day, they probably did it in one take.

You're definitely right about them not thinking about not thinking about the scale when thinking about the sound it produces. I used it inadvertently for quite a few years.

Du bist prima 👍🏻🏆💯

Im a guitarist and really enjoy your videos. I like the fact that you really expose the idiom, it's phrases. Thank you

Extremely good info. Reed match can make someone love or hate a mouthpiece at first glance. Thanks so much for this video.😀

I always thought his music is beyond everything. My all-time-fav. Thank you for this video.

Excellent Video!

You are a genius....making difficult things incredibly simple...Thank you...

The REAL Dexter give away, sound wise, is the slight but short vibrato at the end of last note of a phrase. One or two small shakes are all you get - and no one else does this

you are great Josh...🙂

Have you checked out the "Focus" album, and its opening track, "I'm Late," from 1961? It actually is great, up tempo playing from a later period, and is two complete takes spliced together. Neither Eddie Sauter, the arranger, nor the producer could decide on which was better.

On point! I’ve noticed this with Chet Baker as well.

Everyone knows you swing more when you swing less!

What are some options for improvising over that progression?

Where can one acquire such a drum loop as @3:48??? Thanks.