Sal Nistico, oh my... Most of us would give a finger to be able to have half his ability, only, he doesn't seem to be too excited about it. He looks kind of grumpy when he's not playing and especially when receiving the applause. Nonetheless, incredible to hear his agility and mastery. What do YOU like the most about his playing? Let us know in the comments ⤵ One other thing that would be so cool... only about 15% of our regular viewers are subscribed. It would be awesome if we could reach the 100k milestone before the end of the year. It's the easiest way to support the channel and only costs you half a calorie for the mouseclick. We promise, only fun obscure heavy jazz educational content for ya /Jorre .
I know Sal’s cousin and through him I set up a lesson with Sal in 1990 when he was living in Bern, Switzerland. I travelled from Amsterdam for the lesson and when i got there he said he had to take his daughter to the movies and blew me off. Great player but a real ahole.
Ya that perfect tempo and precise articulation is what did it for me too! What a killer performance, thanks @SharpElevenMusic for bringing Sal to my attention. A true Tenor Madman!
Oh come on now - you’ve seen enough great players and athletes to know they don’t all beem with joy or do fist pumps after crushing the changes or scoring. That was an amazing display of CONCENTRATION and focus and I would never criticize the guy for taking a minute to emerge from the “zone”. Thank you for featuring Sal Nistico. He was one of the most underrated giants of the tenor sax EVER! Another unsung hero was Sal’s tenor mate on the Herman band named Carmen Leggio. You’ve inspired me to dig out my old tapes of those two battling on the Herman bandstand and absolutely killing it!!
Hey Bryan, it's just an impression. But there are also many anecdotes by people, not in the least in this comment section, where it seems that Sal wasn't the easiest person to be around. That is by no means a reason not to love his playing imo, but it checks out with my impression that he's a bit apathic here. Which is such a strange contradiction with when he IS playing . Anyways, great point, I should start listening to more of this too.
@@SharpElevenMusic I hear what you’re saying and, now that you mention it, I think I may have heard that Sal had some ‘tude. But I still maintain that this clip doesn’t show me enough post-performance to see anything but a guy emerging from the zone. Also, it might have been around this era when Miles Davis started turning his back to the audience showing that he was disinterested in whether the audience dug his art or not. BTW - Great job on the transcription! And that ‘60s Thundering Herd was a KILLER band, wasn’t it?!!
AS a long time player I appreciate your very accurate description of the state of mind when entirely focussed at a high energy level . It takes a minute to "get back in your body" and your first thoughts aren't usually "that was great"
I dont know about grumpy, he just seemed extremely locked during that performance. Another point (besides the performance) is that for me personally I have had to work on my stage presence. To look more "involved/engaged" when my other bandmates solo/play and actually look satisified under/after your performance is done. May seem like a minor thing but that adds alot to the performance for the audience.
He was indeed extremely locked! And it could be very well just his concentration I'm mistakenly taking as grumpy. But I've read plenty of anecdotal stories of Sal being somewhat... grumpy and harsh to people. Maybe that's what's causing my bias of course, but he seems a bit bored and apathic when not playing. But when he is playing, he's as engaged as physically possible!
This is true. Many people have told me I look angry when I am just 100% into the music. I am trying to improve in this area as well as being gracious about complements when I didn't think I played that great. The audience doesnt deserve even a perception of bad attitude even if it's not really there. Always much work to do.
I saw this herd with Sal at Birmingham town hall, UK. I was learning sax at that time. Lots of musicians in the audience. The excitement of seeing him live has stayed with me ever since!
Since I knew Sal personally I was well aware of his demons but in my view through him Bird lived again. With his naked lady conn tenor he revolutionized the tenor one step further than Stitt who was basically Bird reincarnated. I will never forget when Sal passed in Switzerland in 91 - he is buried there as well! A week before we talked and he informed me he had finally gotten rid of the monkey. It broke my heart when I later received the news ... Nor will I ever forget when he blew my want - a - be career away with Caledonia at the Blue Note in N.Y.C. and I had to settle for being a mere lawyer instead. I miss you Sal even though you were ten years my senior you were always my idol!
@@SharpElevenMusic Since I was still a teenager playing saxophone, clarinet, and flute I was staying with Hank Edmonds in Harlem which was kind of strange since I was a white kid from Alabama. Sal was still in Kansas City cutting a record and Woody and his "Herd" was at the Metropole. He needed a horn and I was volunteered. I got Sal's folder and Caledonia was coming I was scared to death as the place was packed and Caledonia had an ad lib solo that went on for at least 32 measures many with four cord changes per measure. I still remember like it was yesterday I looked up and there was this short looking Italian on the other end taking out his tenor sax. I had a Selmer Mark VI with a Berg Larson mouth piece 130/1 and the Italian looking kid at a Conn with somewhat of a silver. He just sat there Woody saw him and called for Caledonia so I started to stand up when the alto grabbed my arm and pointed to the Italian who was pointing to him self while mouthing: "I'll play it." In short he did play it and in the process of any imagination that I might have had that I could be a Jazz Musician died in the next ten minutes! I packed my horn and left as I had heard more than enough. Unfortunately, their life style did not promote longevity! Bird died in his thirties!
@@gabrielortiz-larrauri4890 Since I had no real musical talent I went all over the world in a governmental organization which you can probably guess the three letters. I have been in the military (two tours in Nam) have been a fairly good attorney and now I live in Florida and spend most of my time studying the stock market. Although I speak five languages only one I do well but that night in New York when I met Sal I nearly threw my Selmer Mark VI in the river as I knew that I would never be that good. Its a natural ability I don't have it.
I remember seeing this video clip years ago (with Brecker’s solo first), thinking Seamus displayed EVERYTHING. Being in the moment, interplay with the rhythm section, storytelling with so much beauty and excitement and the ability to build, immense melodic wealth and focus on, insane technique including in the extreme altissimo. Rhythmic diversity, excellent sound, everything you can dream of is right there. This is why Seamus continues to be my main source of inspiration and admiration as far as saxophone playing goes. I also love and admire Brecker, ofcourse, for his absolutely amazing contributions to pop/rock/fusion/straightahead.
Conrad Herwig got into that band on trombone and he was a featured soloist. We don't have the travel bands any more. This is what kids wanted to do after music school. I kind of work this style in my day. Few guys play this style ; but Hemke not into it. They iron you out like an Indian shirt. Take all the swing out of you.
Oh man oh man oh man. I remember hearing this as a teenager, we played this tune in my high school big band (not this arrangement) and thinking that Sal Nistico had springs in his notes. Soemthing about his articulation just makes every note thwack. What a talent, under appreciated except for those in the know, gone too soon.
Increíble Sal Místico, la primera vez que vi ese concierto repetí el solo de Sal una y otra vez, no había oído su nombre nunca y me dije:cuantos grandes saxofonistas me quedan por conocer.
Wow ! Great player. But i definitly do not agree about this Cannonball Adderley comparison ! Except the facility, virtuosity, fluency and "drive", what makes you guys compare his playing to Cannonball's playing ???
All the parameters you mentioned under "except", but mostly the way he phrases so neatly at this tempo. Like someone else said in a comment here, "The fastest tongue in the west".
Sal Nistico, oh my... Most of us would give a finger to be able to have half his ability, only, he doesn't seem to be too excited about it. He looks kind of grumpy when he's not playing and especially when receiving the applause. Nonetheless, incredible to hear his agility and mastery. What do YOU like the most about his playing? Let us know in the comments ⤵
One other thing that would be so cool... only about 15% of our regular viewers are subscribed. It would be awesome if we could reach the 100k milestone before the end of the year. It's the easiest way to support the channel and only costs you half a calorie for the mouseclick. We promise, only fun obscure heavy jazz educational content for ya
/Jorre
.
I know Sal’s cousin and through him I set up a lesson with Sal in 1990 when he was living in Bern, Switzerland. I travelled from Amsterdam for the lesson and when i got there he said he had to take his daughter to the movies and blew me off. Great player but a real ahole.
@@danpinsonsax did he know you'd come from Amsterdam?
@@lyntedrockley7295yes he knew well in advance as I had traveled from Phoenix to Amsterdam and we had a firm date to meet.
Why isn't this guy more famous?
...and is that Jake Hanna on drums?
I think the answer is that he’s grumpy, and also higher than a kite.
Amazingly precise articulation... damn
Ya that perfect tempo and precise articulation is what did it for me too! What a killer performance, thanks @SharpElevenMusic for bringing Sal to my attention. A true Tenor Madman!
Oh come on now - you’ve seen enough great players and athletes to know they don’t all beem with joy or do fist pumps after crushing the changes or scoring. That was an amazing display of CONCENTRATION and focus and I would never criticize the guy for taking a minute to emerge from the “zone”. Thank you for featuring Sal Nistico. He was one of the most underrated giants of the tenor sax EVER! Another unsung hero was Sal’s tenor mate on the Herman band named Carmen Leggio. You’ve inspired me to dig out my old tapes of those two battling on the Herman bandstand and absolutely killing it!!
Hey Bryan, it's just an impression. But there are also many anecdotes by people, not in the least in this comment section, where it seems that Sal wasn't the easiest person to be around. That is by no means a reason not to love his playing imo, but it checks out with my impression that he's a bit apathic here. Which is such a strange contradiction with when he IS playing .
Anyways, great point, I should start listening to more of this too.
@@SharpElevenMusic I hear what you’re saying and, now that you mention it, I think I may have heard that Sal had some ‘tude. But I still maintain that this clip doesn’t show me enough post-performance to see anything but a guy emerging from the zone. Also, it might have been around this era when Miles Davis started turning his back to the audience showing that he was disinterested in whether the audience dug his art or not.
BTW - Great job on the transcription! And that ‘60s Thundering Herd was a KILLER band, wasn’t it?!!
AS a long time player I appreciate your very accurate description of the state of mind when entirely focussed at a high energy level . It takes a minute to "get back in your body" and your first thoughts aren't usually "that was great"
Great work! He was a true musical hero.
Cannonball said he was influenced by tenor players, and in turn many tenor players were influenced by him
I dont know about grumpy, he just seemed extremely locked during that performance. Another point (besides the performance) is that for me personally I have had to work on my stage presence. To look more "involved/engaged" when my other bandmates solo/play and actually look satisified under/after your performance is done. May seem like a minor thing but that adds alot to the performance for the audience.
He was indeed extremely locked! And it could be very well just his concentration I'm mistakenly taking as grumpy. But I've read plenty of anecdotal stories of Sal being somewhat... grumpy and harsh to people. Maybe that's what's causing my bias of course, but he seems a bit bored and apathic when not playing. But when he is playing, he's as engaged as physically possible!
This is true. Many people have told me I look angry when I am just 100% into the music. I am trying to improve in this area as well as being gracious about complements when I didn't think I played that great. The audience doesnt deserve even a perception of bad attitude even if it's not really there. Always much work to do.
A sax, an upright bass, and big brass. Now that's cool personified, Thanks for uploading.
I saw this herd with Sal at Birmingham town hall, UK. I was learning sax at that time. Lots of musicians in the audience. The excitement of seeing him live has stayed with me ever since!
Since I knew Sal personally I was well aware of his demons but in my view through him Bird lived again. With his naked lady conn tenor he revolutionized the tenor one step further than Stitt who was basically Bird reincarnated. I will never forget when Sal passed in Switzerland in 91 - he is buried there as well! A week before we talked and he informed me he had finally gotten rid of the monkey. It broke my heart when I later received the news ...
Nor will I ever forget when he blew my want - a - be career away with Caledonia at the Blue Note in N.Y.C. and I had to settle for being a mere lawyer instead. I miss you Sal even though you were ten years my senior you were always my idol!
Thanks for that great story! Sal is one of the most articulate and composed bebop tenor players 4ve heard
@@SharpElevenMusic Since I was still a teenager playing saxophone, clarinet, and flute I was staying with Hank Edmonds in Harlem which was kind of strange since I was a white kid from Alabama. Sal was still in Kansas City cutting a record and Woody and his "Herd" was at the Metropole. He needed a horn and I was volunteered. I got Sal's folder and Caledonia was coming I was scared to death as the place was packed and Caledonia had an ad lib solo that went on for at least 32 measures many with four cord changes per measure. I still remember like it was yesterday I looked up and there was this short looking Italian on the other end taking out his tenor sax. I had a Selmer Mark VI with a Berg Larson mouth piece 130/1 and the Italian looking kid at a Conn with somewhat of a silver. He just sat there Woody saw him and called for Caledonia so I started to stand up when the alto grabbed my arm and pointed to the Italian who was pointing to him self while mouthing: "I'll play it." In short he did play it and in the process of any imagination that I might have had that I could be a Jazz Musician died in the next ten minutes! I packed my horn and left as I had heard more than enough. Unfortunately, their life style did not promote longevity! Bird died in his thirties!
@@JohntheNobleSavage God, I want to hear a solo so good it makes me quit! Was it ever recorded? Also where did you go after you quit? Back to Alabama?
@@gabrielortiz-larrauri4890 Since I had no real musical talent I went all over the world in a governmental organization which you can probably guess the three letters. I have been in the military (two tours in Nam) have been a fairly good attorney and now I live in Florida and spend most of my time studying the stock market. Although I speak five languages only one I do well but that night in New York when I met Sal I nearly threw my Selmer Mark VI in the river as I knew that I would never be that good. Its a natural ability I don't have it.
I remember seeing this video clip years ago (with Brecker’s solo first), thinking Seamus displayed EVERYTHING. Being in the moment, interplay with the rhythm section, storytelling with so much beauty and excitement and the ability to build, immense melodic wealth and focus on, insane technique including in the extreme altissimo. Rhythmic diversity, excellent sound, everything you can dream of is right there. This is why Seamus continues to be my main source of inspiration and admiration as far as saxophone playing goes. I also love and admire Brecker, ofcourse, for his absolutely amazing contributions to pop/rock/fusion/straightahead.
The GREAT Sal Nestico !! a major contender for Johnny Griffin’s title of “Fastest Tongue in the West”.
Hahaha, yes indeed!
For sure! Both of those giants could double tongue faster than anyone ❤❤❤Sal was a ‘beast’❤❤❤
Sal’s blowing on four brothers from this same concert 🔥🔥🔥
He’s amazing!
His time sounds just like Cannonball's, which is a tremendous compliment
Sal's debut album "Heavyweights" was even recorded with Cannonball's band.
Conrad Herwig got into that band on trombone and he was a featured soloist. We don't have the travel bands any more. This is what kids wanted to do after music school. I kind of work this style in my day. Few guys play this style ; but Hemke not into it. They iron you out like an Indian shirt. Take all the swing out of you.
Those were the days! What goes around, comes around. I hope!
Oh man oh man oh man. I remember hearing this as a teenager, we played this tune in my high school big band (not this arrangement) and thinking that Sal Nistico had springs in his notes. Soemthing about his articulation just makes every note thwack. What a talent, under appreciated except for those in the know, gone too soon.
Damn never heard of this guy! Amazing swing!!
We had our own Sal Nistico over here in the UK....his name was Tubby Hayes
Increíble Sal Místico, la primera vez que vi ese concierto repetí el solo de Sal una y otra vez, no había oído su nombre nunca y me dije:cuantos grandes saxofonistas me quedan por conocer.
How come I never heard or him !!
Wow ! Great player. But i definitly do not agree about this Cannonball Adderley comparison ! Except the facility, virtuosity, fluency and "drive", what makes you guys compare his playing to Cannonball's playing ???
It's not.
All the parameters you mentioned under "except", but mostly the way he phrases so neatly at this tempo.
Like someone else said in a comment here, "The fastest tongue in the west".
Bill Chase on lead trpt...
You transcribe the most random solos.
Thanks, I consider this a compliment 😉
It´s only JAZZ !!!!!
Learn this in 12 keys and you will land yourself a gig!!!!