[from a Brick’s Picks in the LA Weekly, c 2009]
We dig saxophone. Sometimes more than anything. Saxophones are sooo jazz. Almost iconic of the whole music. Trumpets were once, a long time ago, and clarinets had their sweet little run too. But Coleman Hawkins, big solid hard blowing Hawk, he put the sax up there in a spot no one has really been able to bounce it from for any serious stretch of time. Lester Young came in right after that, so spooky and perfect and lackadaisically gorgeous…if Coleman Hawkins put that boot down solid then Prez just kinda slid in like a man in his socks on a smoothly waxed floor. Then Bird just turned everything inside out with his bebop thing, stepping here and there and everywhere at once almost. You try to follow those footsteps. Just listen to a solo and try to follow it. Try. Was that work or what? Your eyes crossed, huh? And then Trane? Oh man. You put Trane’s thing on top of Bird’s thing on top of Hawk’s things and all around Prez’s thing I mean, man…..you got harmonics gone nuts, fingers going crazy, you got all that forced air rushing through that crazy saxophone (and it is crazy…look at one close up) and notes and chords flying free from that bell, making crazy patterns, and if you could see them, if the notes were different colors, they’d be filling rooms, filling whole night clubs, all squiggly flatted fifths and minor sevenths and whole bars of chords piling up everywhere. Piling up like fluff or soap bubbles, wonderful notes everywhere, just pouring out of a saxophone like some kind of crazy fountain. Think of that next time you’re sitting there in some jazz joint, the sax man blowing his ass off. Imagine all those notes. Not even the piano emits as many notes (and those would be neatly stacked or maybe scattered across the floor like shards of a glass enclosure.) Nope, it’s the sax that makes the most sound in jazz. There’s just more jazz to be heard coming out of it. Music theory this ain’t. It’s just that we dig the sax.