http://www.youtube.com/watch?v=b-Aq7Rn5g_E

I like how the horns for this song are just minimalist, well-placed hits and some choice long tones with interesting harmonies.  The key when playing playing stuff like this is putting the note exactly where it’s supposed to be because even a single quarter note played on the beat can have as much attitude as a whole Tower of Power tune if you do it right.  Once you are placing the notes exactly where they need to be in time then you need to listen to your trumpet player (or know him really well from years of playing together) and cut off exactly when he does.  The release is just as important as the attack.  The same is true if you’re doing a fall.  Many sax players like to fall chromatically all the way to the bottom of the horn but I always try to be out with or maybe just slightly before the trumpet because it’s their section.

I also get to play about 8 bars of “get hot quick” sax in the middle.  As much fun as it can be to have an open, extended solo to really explore all aspects of a song, there’s something visceral and intriguing about having to make a bold statement in just a few bars.    Something that fits the style and will hopefully give people something to remember as a counterpoint to all the wonderful singing going on and the funky rhythm section.  I’m not saying I think I always pull this off perfectly but it’s always a great and rewarding challenge to try.

I know I said this before but if you’re in the Baltimore area (or Nashville, NYC, or LA these days) and you get a chance to see Emma sing definitely go to hear some cool songs and some great singing.

Even more exciting for me personally, the CD project I spent a lot of time working on over the summer (and going back to last winter) is now out and I’m really happy with how it turned out.  The CD is from a really good buddy of mine named Anthony Setola who is an amazing bass player, a gifted composer, and an up and coming producer.  It’s called Radiate and it’s available now on CD Baby.  If you’re on Facebook and you feel the urge feel free to “Like” this page.  I played tenor and baritone saxes with my usual horn section, The Retox Horns, and I also played a lot of EWI stuff as well. It was fun and interesting because everything was recorded in different places…some in a studio, some at Anthony’s house, some onsite backstage on the gig, and lots of EWI stuff was me recording right here at my house on my laptop and then sending the files to Anthony to incorporate into the song.  Recording at home was on one hand liberating and convenient but on the other hand somehow even more stressful as I tended to obsess over my parts more than I would in a studio environment.  Ultimately I was satisfied with what I added to the project but I was especially knocked out by the other guys and girls also contributing.  Check out these names:

• Frank McComb- Vox
• Sean Rickman- Drums
• Scott Peaker- Drums
• Dan Leonard- Guitar
• Jonathan Rogerson- Guitar
• Russ Pahl- Pedal Steel Guitar
• Ned Judy- Piano and Keyboards
• Federico Gonzalez Pe?a- Melodica
• Benjie Porecki- Organ and Keyboards
• Glenn Workman- Organ and Keyboards
• Bill Plummer- Moog Synthesizer
• Justin Lewis- Moog Synthesizer
• Mark Merella- Wave Drum and Percussion
• Mark St.Pierre- Wave Drum and Percussion
• Meg Murray- Vox and Elements
• Ross Hancock- Vox and Elements
• Brad Kimes Cymbals, Wind Chimes, and Vox
• Joe Amey- Elements
• Larry Rodbell- Elements
• Barry Caudill- EWI, Tenor Sax and Baritone Sax
• Dave Makoweicki- Trumpet
• Jim McFalls- Trombone

It was an honor and a privilege to work with such great musicians even though the only guys I ever saw in the studio were Anthony and the other horn players.  I’ve worked with a lot of the others in various live situations and on other recordings but this collection is a juggernaut.  Check out the CD (or Anthony’s previous CD – also on CD Baby – that I worked on as well) and pick up a copy to support a great guy and a wonderful musician.

Finally a little bit of sax geekiness.  I’ve mentioned before that I have played the same reeds on tenor for quite a few years.  I tried Van Doren Java Green reeds when they first came out and I have been using them on tenor ever since (I also use them on alto and soprano).  That’s nearly 30 years on the same reeds although I have switched back and forth at various times from 3 to 3 1/2 and back again.  Recently, I bought a box of Rigotti Gold 3 1/2 M and I finally had time to work them in and the results are very promising.  The strength matches up very well to what I was using (I was on 3 1/2 recently with the Javas) and the consistency is excellent throughout the box.  Of course, it’s only one box and it could be months before I am completely sure but they are cheaper than the Javas and I’m very happy so far.  My first gig with them is tomorrow night so we’ll see how they hold up.