One of my favorite saxophonists!! His solo on Still Dangerous with James Morrison at Internationale Jazzwoche Burghausen is still giving me goosebumps! So soulful, what a sound! I need to gather my courage and transcribe it ! :D Thank you Jay! Please do a full interview in the future!!! :D
Troy is an absolute beast. Definitely my favorite sax player since Brecker. My best friend for me into him after playing with him in Miami Dade College. I got my '51 Conn because of him.
This was an interesting video as someone who purposefully bought a 1921 Conn New Wonder I over a Selmer mVI/SBA because of the sound of the horn. I used to play a Selmer too.
Troy is a master musician. Plays a bunch of different instruments at a high level. I have the good fortune to play with him with Robby Ameen’s band. We have recorded a few records together. Great to see him get some well deserved attention. You rock Jay!!
Troy Roberts is legend, amazing! His 2004 work with James Morrison's "On the Edge" album in the Burghausen's international jazz week festival is one of the key turning points as a young jazz student, now 27. "Nu-Jive" is also one of my favorite Albums ever made!
My alto is a GORGEOUS ‘38 Conn. I’m the second owner, and it lived most of its like in a closet. I got it as a gift in high school when my mom bought me my pro horn, even though she couldn’t afford it. Truth be told, I actually prefer modern horns. But I can’t get rid of my alto since it has sentimental value.
I didn't know of him but thought his accent sounds Aussie (I am also), and then his whole demeanour, and laid back approach is typical Australian , even after 10+ years in the US.
He isn't the first person I've seen talk about practicing with the just the mouthpiece and do those exercises. I find it so funny that I would do the exact same exercise on a trumpet mouthpiece, and yet it seems to be able to work with a saxophone mouthpiece. It's so very interesting how that works.
Is a 1951 Super Balanced Action considered a modern instrument? He says after getting used to it for about a month, he understood why people play modern horns. What am I missing?
They are basically the role model many of the modern horns are based on (this is highly generalised obviously)(especially talking about the keyword), so compared to the even older conn horns like the one he used to play, they are light years advanced. That's what he means I think
Selmer NEVER made a SBA (super balanced action) so why do even the best players use the title?? They made a 'Super Action' in about 1948 up to about 1954 ,then a MkVI then MkVII ,then a 'Super Action 80 in about 1980, then a 'Super Action series 11 etc . I have genuine original flyers from Selmer which names the Super Action as a new design for the modern player , which it was and still is. Its close to a perfect thing . I own two and they are both Super Actions in my book .
The neck angle alone is prohibitive. I learned on a Pan American tenor from the early 20's. Nice sound but way outdated ergonomics. No front F key even.
Those horns were meant for players with less theory and less technique...playing music where theory didn't have to be shedded endlessly and technique didn't have to be refined to the nth degree. A saxophone today has to be just as good for running all possible scales and arpeggios, at all possible tempos, as it is for blowin' and swingin'. We have Brecker to thank for that, and Selmer too.
Lovely to hear from Troy- what a great player and interesting to see him sound so awesome on a standard Vandoren V16 mouthpiece! Thanks Jay!
One of my favorite saxophonists!! His solo on Still Dangerous with James Morrison at Internationale Jazzwoche Burghausen is still giving me goosebumps! So soulful, what a sound! I need to gather my courage and transcribe it ! :D Thank you Jay! Please do a full interview in the future!!! :D
When you have a broken sax all the saxes are amazing. I appreciate it. Wow have the low lip like satchmo 😂
Troy has been one of my favorite players since VOID came out. such a great player and composer. Love his style.
Thanks for snagging the quick interview, Jay. Troy Roberts is the man, looking forward to the full podcast interview someday.
Great brief interview! I have never heard of Troy. I will be adding him to my play list!
Troy is an absolute beast. Definitely my favorite sax player since Brecker. My best friend for me into him after playing with him in Miami Dade College. I got my '51 Conn because of him.
Great interview! Awesome music! Beautiful instrument!
Very amazing interview. Troy seems like a very personable person and outgoing as well.
This was an interesting video as someone who purposefully bought a 1921 Conn New Wonder I over a Selmer mVI/SBA because of the sound of the horn. I used to play a Selmer too.
So good to watch this podcast. I went to WAAPA with Troy. He was a monster then and even more so now.
Troy is a master musician. Plays a bunch of different instruments at a high level. I have the good fortune to play with him with Robby Ameen’s band. We have recorded a few records together. Great to see him get some well deserved attention. You rock Jay!!
Thank you brother Bob! These words mean a lot coming from you.
Our man from Perth. Love Troy's playing so much
Saw him play at the Ellington jazz club in Perth years ago. I'll never forget it.
So cool! I play a 1932 Conn, I have an SBA in the shop now and used to play a BA. They're all great. Great video!
Hi Scott. I love your yt channel! ❤
@@davidolahmusic Hi David, Thank you!
Troy Roberts is legend, amazing! His 2004 work with James Morrison's "On the Edge" album in the Burghausen's international jazz week festival is one of the key turning points as a young jazz student, now 27. "Nu-Jive" is also one of my favorite Albums ever made!
My alto is a GORGEOUS ‘38 Conn. I’m the second owner, and it lived most of its like in a closet. I got it as a gift in high school when my mom bought me my pro horn, even though she couldn’t afford it. Truth be told, I actually prefer modern horns. But I can’t get rid of my alto since it has sentimental value.
Dude! Troy was my GUY through college, I attempted to transcribe a couple of his tunes off his suite with strings and WOW. 🤘🤘
Troy’s albums are such a joy to listen to! John Leadbetter artist sax, huh? The sound is fantastic! 🎈⭐️🌈🎶🎷
I play a 1928 con c melody: fantastic!!!
I literally just seen him at The Attucks in Norfolk, VA. Troy's a true professional.
Troy sounds great on all of the horns.
Man, he makes it looks so easy
I didn't know of him but thought his accent sounds Aussie (I am also), and then his whole demeanour, and laid back approach is typical Australian , even after 10+ years in the US.
im new to saxophone and this helped me
He isn't the first person I've seen talk about practicing with the just the mouthpiece and do those exercises. I find it so funny that I would do the exact same exercise on a trumpet mouthpiece, and yet it seems to be able to work with a saxophone mouthpiece. It's so very interesting how that works.
I love Troy’s playing and John Leadbetter’s horns are amazing!
Wow. Sounded like an invaluable tip on intonation.
Great interview! I use V16 too 😊 sadly not even close to his standard 😂
Awesome podcast
You should interview Seamus Blake next
Is Selmer SBA 1951 a modern horn? 🤔
Is a 1951 Super Balanced Action considered a modern instrument? He says after getting used to it for about a month, he understood why people play modern horns. What am I missing?
They are basically the role model many of the modern horns are based on (this is highly generalised obviously)(especially talking about the keyword), so compared to the even older conn horns like the one he used to play, they are light years advanced. That's what he means I think
@@sorenfuhrer401 Thank you for the explanation.
Anyone got the 1971 selmer bundy alto sax I do
What a cool 😎 guy😮😊
And great player😮😊
Didn't Troy play a student Yamaha saxophone model for nearly a decade before he switched to a Conn when he was on his way up?
This is true! I played a YTS-21 for many years, and still have it.
You shredded on that 21. I had a 23 at the time and it gave me more confident about playing it.
@@hankrawlins9159 Thank you. I love that horn, its got a vibe!
AM WELL PLEASED
WITH THE BETTER SAX TENOR.
NOT JUST HYPE
WELL MADE
REASONABLE PRICE
So great to hear! Thank you.
Whoa, didn't know he was Australian!
Selmer NEVER made a SBA (super balanced action) so why do even the best players use the title?? They made a 'Super Action' in about 1948 up to about 1954 ,then a MkVI then MkVII ,then a 'Super Action 80 in about 1980, then a 'Super Action series 11 etc . I have genuine original flyers from Selmer which names the Super Action as a new design for the modern player , which it was and still is. Its close to a perfect thing . I own two and they are both Super Actions in my book .
I am curious , why you didn't take 10 / 15 more minutes with him
You forgot to listen.
Ambiguous. The video is almost 15 minutes ... You may mean why they didn't play and record a duet, maybe?
Nothing is better than a modern horn.
I beg to differ but whatever works for *you*
☮️🎶🎵🎷
Old CONN is a nightmare.
The neck angle alone is prohibitive. I learned on a Pan American tenor from the early 20's. Nice sound but way outdated ergonomics. No front F key even.
Those horns were meant for players with less theory and less technique...playing music where theory didn't have to be shedded endlessly and technique didn't have to be refined to the nth degree.
A saxophone today has to be just as good for running all possible scales and arpeggios, at all possible tempos, as it is for blowin' and swingin'. We have Brecker to thank for that, and Selmer too.
WAIT. Is he British. lmao I just realized I've never her him speak
Edit -- never mind haha