We went into the studio last Sunday an tracked all of the new C2J2 CD. It will be out soon. More details as they become available. All of the tenor work was on my Sax Dakota STD-XG 606. The first recording I've done with the Sax Dakota.
I have heard great things about the Fiberreeds. The Legere and Forestnone reeds are also good. Regarding cane reeds, I have recently tried the Rigotti Gold reeds and they work really well.
Synthetic reeds are a great choice if you are doubleing. If you are using a cane reed either keep the mouthpiece cap on if the horn is going to be setting for a while of take the reed off and put it back in a reed case. The cases like the Vandoren H... moreSynthetic reeds are a great choice if you are doubleing. If you are using a cane reed either keep the mouthpiece cap on if the horn is going to be setting for a while of take the reed off and put it back in a reed case. The cases like the Vandoren Hogrocases which keep the reeds in humid storage work really well.
I just picked up one of the Rico H ligatures for my tenor (my mouthpiece has a smaller profile so I had to get an alto ligature) but I really like it. It it quite comfortable to play and it doesn't slide around when you adjust intonation. They... moreI just picked up one of the Rico H ligatures for my tenor (my mouthpiece has a smaller profile so I had to get an alto ligature) but I really like it. It it quite comfortable to play and it doesn't slide around when you adjust intonation. They are worth checking out and they arent too expensive, around $30.00.
I believe that all saxophonists should study jazz/pop/rock as well as classical saxophone. I have found that by studying "both sides of the horn" you become a more rounded player. You want to be as flexible as you can because you never know what kind of gig you are going to be called for. Furthermore if you are teaching, it's is important to be experience in both styles so you can help your students with anything they would be working on.
Regardless of which style you play, you have to practice longtones, voicing, technique, etc. Good fundamentals are important regardless of which style you are playing. However, there is a different mindset for each and a different approach to sound. When playing jazz the approach to tone is to have your own unique sound that differientates you from any other player. But, with classical playing, the difference in tone from player to player is much more subtle. The idea with the classical tone concept is that you are st... ... moreI believe that all saxophonists should study jazz/pop/rock as well as classical saxophone. I have found that by studying "both sides of the horn" you become a more rounded player. You want to be as flexible as you can because you never know what kind of gig you are going to be called for. Furthermore if you are teaching, it's is important to be experience in both styles so you can help your students with anything they would be working on.
Regardless of which style you play, you have to practice longtones, voicing, technique, etc. Good fundamentals are important regardless of which style you are playing. However, there is a different mindset for each and a different approach to sound. When playing jazz the approach to tone is to have your own unique sound that differientates you from any other player. But, with classical playing, the difference in tone from player to player is much more subtle. The idea with the classical tone concept is that you are st... less
I have had the pleasure to have some great teachers over the years. In college I studied saxophone with Michael Ibrahim, David Wright, John Moore, Mike Tracy, and Gary stringer and I learned alot from all of them. I am greatful to have had the opportunity to study music with them.
I learned alot from Jamey Aebersold at his summer jazz workshop, it was there that I heard what it was like to hear serious players play live (Dave Liebman, James Moody, Eric Alexander, Jim Snidero, Dennis DiBlasio just to name a few.). When I first went to one of the summer workshops, I was amazed to hear the players there. It was the first time I heard what a real jazz musicians play live. It changed my life from then on I thought "I have to get as close as I can to that." It was at the workshop that I took a lesson on tone production from Tom Walsh who teaches at Indiana University. From him I learned the right way to develop tone and air support. He helped me develop a r... ... moreI have had the pleasure to have some great teachers over the years. In college I studied saxophone with Michael Ibrahim, David Wright, John Moore, Mike Tracy, and Gary stringer and I learned alot from all of them. I am greatful to have had the opportunity to study music with them.
I learned alot from Jamey Aebersold at his summer jazz workshop, it was there that I heard what it was like to hear serious players play live (Dave Liebman, James Moody, Eric Alexander, Jim Snidero, Dennis DiBlasio just to name a few.). When I first went to one of the summer workshops, I was amazed to hear the players there. It was the first time I heard what a real jazz musicians play live. It changed my life from then on I thought "I have to get as close as I can to that." It was at the workshop that I took a lesson on tone production from Tom Walsh who teaches at Indiana University. From him I learned the right way to develop tone and air support. He helped me develop a r... less
Christopher MickelWe went into the studio last Sunday an tracked all of the new C2J2 CD. It will be out soon. More details as they become available. All of the tenor work was on my Sax Dakota STD-XG 606. The first recording I've done with the Sax Dakota.
Christopher MickelOur recording session got moved to this weekend. So we are going into the studio to record our third C2J2 CD. I'm looking forward to it,it will be my first Studio work with my Sax Dakota Tenor.
It's been a while since I have posted (I need to do a better job of posting frequently), but, I found out something really important regarding working on your own horn. We all know that it is often difficult to get pads seated just right, especially... moreIt's been a while since I have posted (I need to do a better job of posting frequently), but, I found out something really important regarding working on your own horn. We all know that it is often difficult to get pads seated just right, especially the ones that we close when pressing keys.
I have found that the most difficult part of getting a saxophone in adjustment is lining up the F key and the G-sharp key. If these aren't just right, your low notes will not respond at all. the culprit tends to be the G-sharp key. Make sure when you are seating the G-sharp key do it with the little finger kee off of the horn. Why? because the little finger key pushes the pad down pretty hard and forces it closed. the problem is that many times the pad is not seated correctly and it does not seal when the bridge between the F key and the G-sharp key pushes it down. As a result, low C-sharp, B, and B-flat are difficult to play and sometimes they don't come out at all. So,... less
Christopher MickelWe've been rehearsing a lot lately to go back into the studio with C2J2 on Sunday. we are looking forward to recording our 3rd CD. More on that as we get things finished.
This is a bit tricky. So you are saying that your saxophone does not have a front F (X) key. This can make it difficult to negotiate. You can have a front F key installed on your horn to make it possible to use the X - 2 - Ta fingering.&... moreThis is a bit tricky. So you are saying that your saxophone does not have a front F (X) key. This can make it difficult to negotiate. You can have a front F key installed on your horn to make it possible to use the X - 2 - Ta fingering. It may be something you want to have done because some of the other High F - Sharp fingerings really are not practical.
I like Vandoren Reeds: Traditional and V-12 for classical playing, for jazz I like Vandoren V-16's. As far as mouthpieces I like use a Drake Contemporary I on tenor and a Drake jazz model soprano mouthpiece. For Classical I like Vandoren... moreI like Vandoren Reeds: Traditional and V-12 for classical playing, for jazz I like Vandoren V-16's. As far as mouthpieces I like use a Drake Contemporary I on tenor and a Drake jazz model soprano mouthpiece. For Classical I like Vandoren pieces: For alto I play an optimum AL3 or a V-5 A-27, on tenor I have a V-5 T-20, and on soprano I use a V-5 S-27.
Ok, so. I just saw a fake Selmer Reference 54 tenor saxophone. A very cheap and flimsy horn with bogus engraving, suspect lacquer, and a selmer logo that does not match the actual selmer logo. The "S" on the neck octave key is even upside down. Terrible!Be careful when you are buying a new horn. Listen to the guys in the reputable music stores, they are not trying to rip you off by reccomending a horn that is more expensive than the one you found online brand new for really cheap. They have seen the afoer mentioned brand new cheap horn and know that buying them is a waste of money for two reasons:
1. the horn is poorly constructed of substandard materials
2. if you need repairs, it is almost impossible to get parts for these types of horns.... moreOk, so. I just saw a fake Selmer Reference 54 tenor saxophone. A very cheap and flimsy horn with bogus engraving, suspect lacquer, and a selmer logo that does not match the actual selmer logo. The "S" on the neck octave key is even upside down. Terrible!Be careful when you are buying a new horn. Listen to the guys in the reputable music stores, they are not trying to rip you off by reccomending a horn that is more expensive than the one you found online brand new for really cheap. They have seen the afoer mentioned brand new cheap horn and know that buying them is a waste of money for two reasons:
1. the horn is poorly constructed of substandard materials
2. if you need repairs, it is almost impossible to get parts for these types of horns.
Remember, only shop at reputable music stores (such as Gorby's Music http://www.gorbysmusic.com/, I have dealt with this store for years and they are very good).
REMEMBER, IF IT SEEMS TO GOOD TO BE TRUE... less
Biography
Saxophonist and music educator Chris Mickel currently resides in his hometown of Charleston, West Virginia. He has been playing saxophone for about 25 years, having studied jazz and classical performance. He is a versatile a musician and has experience performing in many settings from rock and jazz to chamber music and solo classical repertoire.
He holds a Doctor of Musical Arts degree from West Virginia University, with his major research project (which will be published in early 2012) being on the Glazunov saxophone concerto. He earned a Bachelor of Science in Music Education from West Virginia State University in 1999 and a Master of Music in Saxophone Performance from the University of Louisville in 2002. He has studied saxophone with the following teachers: Michael Ibrahim, Morgantown, WV (2008 – 2011); David Wright, Morgantown, WV (2007 – 2008); John Moore, Louisville, KY (2001 – 2002); Michael Tracy, Louisville, KY (2000 – 2001); Gary Stringer, Charleston, WV (1996 – 1999); and Mel Gillespie, Charleston, WV (1992 – 1996).
His current musical activities include his private saxophone studio and his work The C2J2 Quartet based in Charleston, WV. He has recorded two CD's with the C2J2 Quartet: a self-titled studio recording which is currently available through Kunaki CD distribution (http://kunaki.com) and a live recording entitled "Live from the Glass" which is set for release in late 2011. Some of his notable performances are: Participation in various concerts with the West Virginia Symphony Orchestra; performed as a soloist at the 2009 Region 8 conference of the North American Saxophone Alliance; played the lead tenor saxophone chair in the 2009 Mid-Atlantic Collegiate Jazz Orchestra; performed as a soloist at the 2009 conference for the Society for Electro-Acoustic Music in the United States; performed as a soloist at the 2010 National Conference for the North American Saxophone Alliance; performed as featured soloist on faculty recitals and with the Jazz Ensemble at West Virginia State University; performed as featured soloist and accompanist on numerous student recitals and with the West Virginia University Big Band, Little Big Band, Saxophone Quartet, and various other ensembles.
Concerto da Camera for Alto Saxophone and Brass Quintet by Fisher Tull
Chris Mickel, Alto Saxophone;
Dereck Scott, Trumpet;
Evan Vockley, Trumpet;
Amber Irvin, Horn;
Steve Shin, Trombone;
Andrew Martin, Tuba.
Join Vandoren clinician Ron Kearns on Tuesday, July 24, at 7:00 p.m. EDT for a video chat discussing mouthpiece, reed and ligature set ups. The chat/clinic will go from 7:00-7:30p.m. EDT.
www.mysaxtalk.com/avchat3
Room: Live Workshops
No Password req...
THE RECORDING PROCESS: Lieb will answer your questions concerning recording, which as he believes, is THE most important situation a jazz musician finds him or herself in. Some of you might have a pamphlet (now out of print) that was published by Aebersol...
Dave Liebman will be talking about his DVD, "THE IMPROVISER'S GUIDE TO TRANSCRIPTION" Do not miss this opportunity to learn from one of the jazz greatest.
Mysaxtalk will also raffle a copy of his DVD and "maybe" he will even play a Christmas song for...
The C2J2 quartet will be performing at the Empty Glass.
The Empty Glass
410 Elizabeth Street
Charleston, WV 25311
call 304-345-3914
http://www.emptyglass.com/fr_home.cfm
This is a benefit concert to raise money for the Derick Kirk foundation. The Derick Kirk Foundation supports and funds music education and development in grades kindergarten through 12. Recognizing personal and professional development begins early, The ...
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