1 comments about Jazz Style and Technique Workbook for All Saxophones.

1. This book was really useful. The etudes are challenging, but not at all overwhelming. All the etudes are in a couple of keys to work on technique (and to make them more challenging) and have all the notation you need to figure out how to play with a jazz style. This book really helped me LEARN and use the techniques I need to play saxophone better.

1 comments about 158 Saxophone Exercises/50332850.

1. If you are looking for a book that just contains pages of notes, this is probably the book for you. There is virtually no writing or explanation of what's going on in the patterns. Articulation and rhythm is up to you to make up for each series of exercises. Good for ear training, intonation, technique etc. Exercises focus on a diminished sound.

No comments about Basic Jazz Conception for Saxophone Vol 2 (Volume 2).

No comments about Daily Studies for Saxophones.

No comments about Stan Getz - Standards: Tenor Saxophone.

1 comments about Jamey Aebersold's Jazz Ear Training.

1. This book does not offer any entry point for a beginner. It starts you out memorizing the chromatic scale (a major undertaking, even with a developed ear). I would only recommend this book to someone who has a strong grasp of major and minor intervals and a well developed ear. Can you sing a minor sixth off the top of your head? If not, look elsewhere.

1 comments about ROCK SAXOPHONE METHOD BK/CD: FOR BEGINNER TO ADVANCED STUDENTS (Progressive).

1. Don't let that 'Young' Beginners' fool you. This book is for anyone wanting to get into rock or r&b sax, even a grey-beard like me! Progression is good with both melody, rhythm, and starting improv covered. The cd has both alto and tenor tracks. Geller makes it reasonably easy to sound good, but it will take some effort. Price and Laughter each have a great rock sax book, but this is the place to start!

5 comments about Blues Saxophone: An In-Depth Look at the Styles of the Masters.

1. The history of the saxophone comes alive in Dennis Taylor's Blues Saxophone. Unlike any resource that has existed before, this work combines photographs, biographies, instrumental transcriptions, and discographies. It even includes a CD-ROM to demonstrate the style of 16 sax masters, ranging from the well known to relatively obscure. This is an important and valuable resource for students and professional musicians alike.

   The book starts with straight-ahead Chicago blues players, and advances through blues rooted jazz to modern jazz masters. Each successive player is stylistically more progressive and complicated.

   Each master is given a short biography, then his playing is put into musical context. Carefully selected photographs bring the words to life. Then a typical solo is explained and transcribed for readers to play themselves. Taylor puts the solo into context, with an incisive description of the techniques used. On the enclosed CD, Taylor demonstrates the transcribed solo. Cleverly, the saxophone and rest of the band are on separate channels, so that the student can mute Taylor's saxophone and play along with the band.

   Blues Saxophone is the work of a professional musician and scholar who brings decades of research and passion to this project. His commentary alone is worth the price of the book. This book is a must have for anyone interested in the saxophone. We can only hope that it inspires a whole new genre of similar products for other instruments and musical styles.




2. This is exactly what I have been looking for....
   Most tutorials contain uninteresting studies which bear no relation to real modern saxophone playing. Blues Saxophone by Dennis Taylor offers students a clear approach to playing authentic blues. The sax examples played are in a neutral, scholastic style by Dennis Taylor who then advises students to listen to the original recordings of the various artists in order to get the "feel" of each individual style.
   My only criticism would be that the original recordings are not included on the cd together with the recordings by the author.
   However, from a saxophonist who has always had to deal with learning the sax through jazz studies, as most modern music schools snob the blues as "too simplistic" I have finally found a valuable tool to help me continue to develop my own style of improvising in the blues by using simple tricks and effects learnt from this book as opposed to complex jazz phrasing which are fun to play but difficult to apply to improvisation.



3. Imagine trying to learn the playing styles of blues legends just by listening to their records. Anyone who has tried to transcribe those fantastic, complex, and wonderful licks knows just how hard a task this is. Well, this book/CD has done it for you. You can listen to 2 pages worth of solo, and follow-along on the transcription. Then you can practice the piece at your own pace until you master it well enough to play along.

   Any student of saxophone styles who is serious about learning how to play R&B/Rock saxophone needs to add this piece to their library. After a 30 year interruption in my sax playing, I started up again this year, and just recently found this set. I consider it one of the most valuable pieces in my library.




4. This is a valuable book, mainly because there is no other on the subject. The CD is good--Mr. Taylor's performances in the styles of many blues players are impressive. However, while the subtitle of the book promises "in-depth" examination or analysis of the styles of "the Masters," what we get is hardly that; the text entries, with biographical information included, range from 1/2 a page at the least (Bobby Forte) to 1 1/3 pages at the most (Lester Young, Sonny Rollins) -- and no one can claim to do an "in-depth" study of Lester's or Sonny's blues styles in 1 1/3 pages with bio included! Also, the discographies, while useful, are hardly complete. If you are a blues sax player -- especially a beginner, or someone turning the corner from jazz into blues (no, they AREN'T the same -- as Taylor underscores, they are related but ultimately distinct traditions), this book can be useful; and it's good that these players, many of them fairly well forgotten, are represented. But there's room for a much more complete -- "in-depth" -- version of this book.



5. I love the blues, and as a saxophone player I was happy to get this book. What the book has is transcriptios of about 15 solos in styles ranging from the roughest Chicago blues to Sonny Rollins sophisticated chord changes.
   There is a CD where the author plays those solos accompanied by his band.
   before every solo there is one page, half of which is a short history of the stylist whose solo is transcribed, and half which is a theoretical reference.
   The solos are good to learn, and may provide a good exercise for playing blues. But the theoretical explanation is lacking and is certainly not IN DEPTH.
   I do recommand the book as it has some good blues ideas, and shows respect for some of the underrated blues stylists.

No comments about Rubank Intermediate Method Saxophone, No. 68.

No comments about Intermediate Jazz Conception for Saxophone.