If anybody is wondering what that sharp eleven logo is doing in the middle of the video, it's because I have seen quite some re-uploads on both TH-cam and Instagram lately of our transcriptions. I don't mind that, I love it when it's shared further. But it usually doesn't mention us and even at times seems to imply that it was made by the re-uploadee (that's not a word, I know, but I like the sound of it). So the logo is there as a minimal watermark, not "branding". Whatever that should mean, as if we're a business or something 😂 So by all means, share the transcriptions, even re-upload it, but please mention the name. It has feelings you know. Full info: Name: Eleven Surname: Sharp Sex: Sax/Guitar Date of birth: 2016 (when it came out of the TH-cam birth channel at least, conception around 2010) Nationality: Belgian with a dash of Italian (Timothy's side)
I have gotten to the point in my life i only want to strictly listen to Gerald,i can name any album solo i have played from him to kinda get his solo dynamics to a some point.the question i have asked for so many years is (with so far i learned from his material,would i be able to make a dynamic solo,in a song i have never heard from Gerald?) the short answer is well NOPE.because a mix of random others saxophonist traces from the past show up.indeed he is a somewhat a reserve player.
Gerald Albright produces such clarity in the altissimo range, it's like he’s channeling the spirit of Earl Bostic-smooth as silk but with that extra kick of sass. His solo? Oh, it’s more than just ear candy; it's a must-learn for anyone who wants to sprinkle their playing with pure gold. Honestly, trying to resist all the brilliant phrases he sneaks in there is like trying to eat just one potato chip-good luck with that!
haha, still agreat observation as drummer. Not many pro's will play that E altissimo in the first place (the D beneath is kind of the first magical border, even if you see people playing altissimo's very well they'll usually not cross this border), but to play it is one thing, to make it sound good up there is a whole other thing. + he doesn't get gradually up in a saxalar way, making the note a bit "easier", he does it in that octave skip. But actually, the one at 1:14 is the hardest to play when I tried to copy the solo. Because it's not only a skip to that insane E, you also need to tongue it three times in sixteenths which makes it very easy to crack one or more of them (it can break easily a steady airflow, the phrasing). That was way too much sax technic specifics for a drummer I recon, but now you know anyways :)
@@Distractionalist yes, he definitely has some aspects of his articulation. But maybe also the giant "Cannonball" sign in the background reminds you of him?
Hey thanks for that mention, didn't know her but just send me through a rabbithole. She sounds great, listened to a couple of tunes of an album and will be listening the whole album now! Pity that she doesn't seem to be on the (online) scene anymore much, I can only find two own albums of her from the 90s and barely anything on TH-cam
Can anyone make out the fingering Albright is using for the top E? I know the fingerings dont matter much in altissimo, but was anyone able to make it out visually?
I use basically the C with octave key + 1,2 in right hand. I can only see Geralds upper hand and that part is the same as described. I find it a very nice fingering that once you have the technique/ability is able to pick out that E out of thin air (instead of having to work your way up). Let me know if it works for you. If I find a bit of time this week, Ill try to make a short video
@@SharpElevenMusic thanks man, gonna try it. No trouble getting into the super altissimo on tenor, alto is quite tricky though since the same magic fingerings, like side D+3 in the left and 1+2+3+side C in the right (obv. with octave key pressed down), basically getting out top E as overtone of the B below, dont really work for me on alto. Maybe its a mpc&reed issue
Like you said, fingerings don't really matter and it's about getting the voicing right with your setup.... However, Ted Nash Studies in High Harmonics has fingering options for that E as: front F key + RH 1; or just RH 1,3. Octave key for anything in that range.
As much as I like GA, as much as I like a real good altissimo sound, there's something that's putting me off in today's saxophone playing. Playing 1 to 2 octaves higher than palm keys is simply NOT delivering a nice sound. It's not in tune, it's thin and it's not sounding great. Go play soprano, or sopranino if you want to play that high. I was at Ghent Jazz this summer, saw Chris Potter who I used to adore, but he was constantly touching that ultra-high altissimo, and it turned me off entirely. Same here wit GA, what a player, what a sound, what a technique, but don't go where there instrument is just not sounding good anymore.
![ลองสุ่มไอโฟน 990 โกงมั้ย? [ โกงมั้ยครับ ep.101 ] | DOM](http://i.ytimg.com/vi/bfsWe0j492k/mqdefault.jpg)
If anybody is wondering what that sharp eleven logo is doing in the middle of the video, it's because I have seen quite some re-uploads on both TH-cam and Instagram lately of our transcriptions. I don't mind that, I love it when it's shared further. But it usually doesn't mention us and even at times seems to imply that it was made by the re-uploadee (that's not a word, I know, but I like the sound of it). So the logo is there as a minimal watermark, not "branding". Whatever that should mean, as if we're a business or something 😂
So by all means, share the transcriptions, even re-upload it, but please mention the name. It has feelings you know.
Full info:
Name: Eleven
Surname: Sharp
Sex: Sax/Guitar
Date of birth: 2016 (when it came out of the TH-cam birth channel at least, conception around 2010)
Nationality: Belgian with a dash of Italian (Timothy's side)
I have gotten to the point in my life i only want to strictly listen to Gerald,i can name any album solo i have played from him to kinda get his solo dynamics to a some point.the question i have asked for so many years is (with so far i learned from his material,would i be able to make a dynamic solo,in a song i have never heard from Gerald?) the short answer is well NOPE.because a mix of random others saxophonist traces from the past show up.indeed he is a somewhat a reserve player.
Gerald Albright produces such clarity in the altissimo range, it's like he’s channeling the spirit of Earl Bostic-smooth as silk but with that extra kick of sass. His solo? Oh, it’s more than just ear candy; it's a must-learn for anyone who wants to sprinkle their playing with pure gold. Honestly, trying to resist all the brilliant phrases he sneaks in there is like trying to eat just one potato chip-good luck with that!
You should write album notes like these Bob 👌
I don’t know anything about sax, in fact I play the drums. But man that altissimo E is unbelievable and also still manages to sound really good.
haha, still agreat observation as drummer. Not many pro's will play that E altissimo in the first place (the D beneath is kind of the first magical border, even if you see people playing altissimo's very well they'll usually not cross this border), but to play it is one thing, to make it sound good up there is a whole other thing. + he doesn't get gradually up in a saxalar way, making the note a bit "easier", he does it in that octave skip.
But actually, the one at 1:14 is the hardest to play when I tried to copy the solo. Because it's not only a skip to that insane E, you also need to tongue it three times in sixteenths which makes it very easy to crack one or more of them (it can break easily a steady airflow, the phrasing).
That was way too much sax technic specifics for a drummer I recon, but now you know anyways :)
@@SharpElevenMusic yeah I had to pause the video at 1:14 just to process a bit
I like how much melodic variety he includes over long stretches of chords without going too outside. Great solo!
Albright is the best smooth jazz guy out there...this solo is a masterclass in its self.
He's still one of my fave soloists around. Such clarity no matter what range he's in. I love it.
Has some great key changes and a very bluesy jazzy feel, I want to transcribe it to guitar just to learn some of the motifs
, thanks Sharp 11
great idea to take the guitar motifs, go for it!
Thank you so much for your hard work.
Thanks Charles!
I play intermediate level fusion rock and I reference almost every time jean pierre in the jazz-like backings. So seeing this made me smile :)
I have an alto solo in the same key in about a week... you best believe I'll be using some of this for sure!
Just gorgeous
This solo is awesome. Love GA. Can you transcribe Randal Clark on Soul with a a Capital S?
So cool!
mm. 92-96 So simple but perfectly phrased.
sick
reminds me of cannonball
yeah his articulation gives away how much cannonball hes checked out
@@Distractionalist yes, he definitely has some aspects of his articulation. But maybe also the giant "Cannonball" sign in the background reminds you of him?
Reminds me of alto sax player, Carol Chaiken.
Hey thanks for that mention, didn't know her but just send me through a rabbithole. She sounds great, listened to a couple of tunes of an album and will be listening the whole album now! Pity that she doesn't seem to be on the (online) scene anymore much, I can only find two own albums of her from the 90s and barely anything on TH-cam
No need to steal them. Cannot play them... His technique is out of this world
i came here to say that, like how? how am i going to copy these?
@@JackSamps and @johnskamnikakis start with the none-altissimo ones? :p in half the tempo. I promise, they still sound delicious
❤❤❤
0:43
2:00
4:07
Can anyone make out the fingering Albright is using for the top E? I know the fingerings dont matter much in altissimo, but was anyone able to make it out visually?
I use basically the C with octave key + 1,2 in right hand. I can only see Geralds upper hand and that part is the same as described.
I find it a very nice fingering that once you have the technique/ability is able to pick out that E out of thin air (instead of having to work your way up).
Let me know if it works for you. If I find a bit of time this week, Ill try to make a short video
@@SharpElevenMusic thanks man, gonna try it. No trouble getting into the super altissimo on tenor, alto is quite tricky though since the same magic fingerings, like side D+3 in the left and 1+2+3+side C in the right (obv. with octave key pressed down), basically getting out top E as overtone of the B below, dont really work for me on alto. Maybe its a mpc&reed issue
Like you said, fingerings don't really matter and it's about getting the voicing right with your setup.... However, Ted Nash Studies in High Harmonics has fingering options for that E as: front F key + RH 1; or just RH 1,3. Octave key for anything in that range.
i'm a guitar player and i have stolen more than a few albright licks.
Thinking about Parker without smack?
As much as I like GA, as much as I like a real good altissimo sound, there's something that's putting me off in today's saxophone playing. Playing 1 to 2 octaves higher than palm keys is simply NOT delivering a nice sound. It's not in tune, it's thin and it's not sounding great. Go play soprano, or sopranino if you want to play that high.
I was at Ghent Jazz this summer, saw Chris Potter who I used to adore, but he was constantly touching that ultra-high altissimo, and it turned me off entirely.
Same here wit GA, what a player, what a sound, what a technique, but don't go where there instrument is just not sounding good anymore.