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Tristano school stuff


Nate Dorward
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4 hours ago, adh1907 said:

On the subject of the Tristano school, can anyone explain Warne Marsh’s bubblegum embouchure in the 50s? So weird, I would love to emulate it, if someone could explain the theory and practice??

 

Not being a saxophonist myself, what do you mean by bubblegum embouchure? I vaguely recall once speculating that Warne liked to his use mouth/throat as a resonating chamber as much as possible -- Is that something like it?

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Check out that lateral/diagonal jaw movement. It violates damn near ever "rule". I don't know that it was a permanent thing with him, though?

Some singers would do that on occasion, there's a clip or two of Herb Jeffries that are insane with that. Go to "Baby Won't You Please Come Home" here 

 

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18 minutes ago, JSngry said:

Check out that lateral/diagonal jaw movement. It violates damn near ever "rule". I don't know that it was a permanent thing with him, though?

Some singers would do that on occasion, there's a clip or two of Herb Jeffries that are insane with that. Go to "Baby Won't You Please Come Home" here 

 

I think this may fit my previous speculation. Isn't Warne, like Jeffries,  out to spontaneously alter/adjust the acoustic properties of his mouth/throat combo -- the resulting alterations/adjustments, in Warne's case, emerging from his horn?

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Isn't there possible parallel between what Warne is doing and the extremely oblique way Pres often held his horn, the latter approach leading to/enabling audible shifts in timbre/sonic density? Albeit with Warne those shifts are more on a micro level.

 

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