Vincent Herring - Carrying on the Alto Sax Legacy

[@sorenfuhrer401]

Aww man, it's so incredibly cute seeing Vince geeking out about Phil woods' sound. Sometimes, one forgets that today's giants also have heros they looked up to. Fantastic interview!

[@scomdnz9]

Jay, thank you so much for doing these interviews with the greats. We're at a point in time where the great jazz legends of the last century are pretty much all passed on. Vincent's generation is one that got to spend time with these greats and their stories seem like the last possible glimpses into the lives of these legends. I strongly believe in having strong historical records and if there is still knowledge that can be learned of the past we should do what we can to find it and keep it.

[@denominator208]

What a fantastic interview. I didn't know about him before, but his sound is huge and his personality is very likeable.

[@nhr27]

12 minutes in and hearing about reed strength and tip opening is so helpful.

[@johndaniel9352]

When I hear someone say 4.5 I’m like who the heck can blow that strength lol

[@johndaniel9352]

When I hear someone say 4.5 I’m like who the heck can blow that strength lol

[@BernellJonesII]

Love Vincent herring! I took lessons with him for a little while and the jam sessions at his house were always a great learning experience. He’s the real deal

[@richardcasey7521]

Jay, your guest Vincent Herring was absolutely one of the most enjoyable musicians to listen to. He spoke so realistically and with such insight.

[@zonker33]

Vincent Herring= #1 alto player today

[@3163steve]

Thanks Jay I am a neighbor of Vince and to be on the block with my favorite player is the best. I have been hearing him since he was a kid at various events and continue to get blown away. I am a player and he is real inspiration. Will contribute to your site when the book comes out.

[@RichardCharney-hk2kt]

I feel vindicated. I've reduced my reed strength to 2.0-2.5 (Rico) on a Meyer 6, and felt like I was a wimp, though I loved my sound. Thanks, Vincent

[@HenryJonesVictor]

Same here, soft reed + closed mouthpiece is the way. There's a million things I'd rather concentrate my efforts on than trying to get a damn sound out of the horn.

[@RichardCharney-hk2kt]

My first teacher, Chuck Wilson, who toured with Buddy Rich and Benny Goodman, played a Meyer 5 with a 2.5 (on a Selmer Cigar Cutter). Not sure why I ever went stronger, but softer works better for me now@@HenryJonesVictor

[@SaxSith]

Vandoren V16 5+s and 2.5 red Java - just perfect😊

[@SaxophoneDanLive]

Dude the honesty and the stories of old! Another great one for the books. Thanks so much for these Jay. It's sad to think that soon we won't have any of these cats around to tell us stories about hearing all the legends live. This stuff is truly inspirational.

[@bahalvorsen]

Absolutely LOVE this!!! So nice to experience his thoughts and perspectives coupled with stories and anecdotes like this, in a lengthy conversation. So opinionated (and well reasoned) and open minded at the same time! Gives jazz musicians of any level a lot to think about. Mind blowing alto sax player, too. I've had the great fortune to experience him live in a small club, with his clarity, fluidity and commanding presence. Loud and intense most of the time, it's so interesting to hear him talk so softly and nuanced!

[@brycewalburn3926]

Cannonball is my favorite player of all time, and I'm embarrassed to say that it took me this long to discover Vincent Herring. What an incredible musician and a great thinker!

[@linaanil-f7v]

Cannonball is my favorites too, but one thing is odd with him .... Every phrase he played sound ultra complex at least for me impossible to mimic or event repeat.

[@brycewalburn3926]

@@linaanil-f7v Hmmm...I've never hear that comment about Cannonball before. I think the more you practice and transcribe, the less you'll feel that way.

[@aarongrooves]

PHENOMENAL interview! I've been thinking a lot lately about how young people learn jazz today, and how institutionalized it is. The amount of venues available today is at an all time low; I saw a good 10 venues close just in my first 5 years living in LA. And most of the biggest lessons I learned and the inspiration I received was from these live venues and jam sessions. Not to bash school, but it's not the same.

[@roberthelme8000]

Bird and Diz learned on their own mostly..I sometimes run into players, often classical, who think saxophonists like me who didn’t attend a conservatory aren’t musicians.

[@OGStazzy]

Yo I love this guy. His mindset to musicality is rare and beautiful

[@jeremystagg8157]

Beautiful discussion. I'm returning to sax playing and this was an absolute resurgence in energy for me. Vincent has hit the main pointers many times in the interview. So many education learnings that are golden threads for making those innovative producers that don't grow in patchy classes, or expensive colleges. Absolute godsend. Thank you both. More please.

[@mrfrankdamsax]

What a generous human being! Great interview again Jay. Thank you so much for this. The stories are simply amazing.

[@DobrisaDobrenic]

Honestly, I am not a fan of interviews but this one is so incredible, full of life! Congrats to both of you.

[@MarkZIMMER-m4c]

Hi. Vincrre.I remember you from Napa college.Its Mark zimmer

[@mattdavis9801]

One of the best interviews I've seen... What a great musician and thinker!

[@johnasti7429]

Great interview.... Wonderful player....I've never heard anyone put more air through the horn than Vincent, but with a gorgeous sound!!!!!

[@jazzsaxcat]

Thank you. As a long time educator and performer, I really appreciate the things that were discussed.

[@Cubsfan122112]

in my college jazz band, one of the things i like that my director does - who is a tenor sax player, has guest performers play with the band for the final gig of the semester. in the summer, we had trumpeter Marques Carroll. this fall, we're lucky and fortunate to have Vincent Herring himself sit in a rehearsal with us and perform as well. I really hope he brings this horn. Really excited to work with him after listening to him and watching this interview.

[@nigelcreasy6046]

Jay you are a great interviewer, you just guide Vince onto different paths and listen to the journey unfold. This is your best yet, what profound insightful comments to help us all.

[@TonyAguirreJazz]

Vincent is spot on. When I grew up in Oakland my teacher Bob Soder taught me to breath through my diaphragm. Great interview Jay, I really learned a lot. When I read Van Gogh's biography, he too mastered the basics before moving to impressionism.

[@benhostetler268]

Love this interview I’ll have to rewatch it to really digest all the tidbits he gave.

[@alishadcmusic]

I could listen to his stories all day! Thanks for a great interview.

[@ISLEaxe]

A great and awesome interview of one of my jazz favorites. I'm a big fan of Mr Vincent for years with that big beautiful sound of his.Thanks Jay for an awesome interview.

[@codfather6583]

Not often i watch videos on yt that last more than 10 minutes, but this was important. great job for future historical reference!

[@barryoverstreet4876]

Beautiful Sunday night listening. Just gettin' into it now. Get that man a Reed Geek. It has absolutely changed my life. Again, attributable to you, dude.

[@ginohernandez5143]

Great one Jay, keep em' coming!

[@rickymian723]

THANK YOU... priceless

[@johnfilardi]

One of your top 5 interviews, very informative

[@bettersax]

Glad you enjoyed it!

[@samuellsipahutar]

thank you so much Jay !

[@barryoverstreet4876]

Ha! Ive got a Brecker story, too! I saw him three times, only ever in the UK, and saw Jethro Tull three times, only ever in the US. Well, the first time I saw him, it was in Glasgow, Scotland, and I hadn't been playing for a couple of years, though was practising a bit again. Anyway, I went to see him at the Mitchell Theater, and at some point in the gig, his playing was so profound - bordering on ethereal - and spoke to me so hard, and I was thinking so intensely, trying to take in everything that was hitting me, so much so that I had to get up and leave. I dont know if it was shame, or despair, or confusion or what, but I couldn't sit in the presence of it with a clear conscience. I literally had to go stand outside for a while, like a child who has to stand in the corner, but I had done it to myself! 😂 Eventualy, thankfully, I was able to go back in, and as I went in to this small venue space, he was getting ready for the next tune and we locked eyes, and I think he actually knew what i had just been through. I did that kinda waggling the prayer hands at him thing that people do and then kinda clutched at my heart with both hands, and he just gave me a slight bow, and then gestured me to my seat with his open hand and a loving smile, and then, with acknowledgement, he looked at me as if to say, "are you okay, and are you ready now?", and I jokingly - kinda - gripped onto my chair arms and nodded slightly, and he chuckled inaudibly, turned and kicked the band into the next number. And that was that. What an absolute master, and what a kind, beautiful human. ❤

[@pichipachu]

Used to love seeing Vince with his band playing the Cube in NYC in mid '80's. That band kicked ass! Definitely one of the best NYC bands of that time.

[@bfleury1]

Thank you. What a great interview. I have always loved Vincent’s sound. Really enjoyed the section on his reed choice!

[@bettersax]

Our pleasure!

[@OGStazzy]

My teacher realllllly improved my perceptions on embouchure and breathing. Today was my second lesson but I’m sure my teacher has saved me from a lot of rabbit holes. Every lesson we focus on long tones and breathing from the diaphragm(rudiments)…. Game changer. As a former guitar player, that really helped.

[@hellhound59]

What a humble guy, beautiful player.

[@beast0716]

I haven’t played for years but I decided to hop back in full throttle, this was another piece of amazing content that is inspiring and amazing. 💪🏼💪🏼

[@saxophoneproblems9851]

Yes great interview!

[@WesleyChinTranscriptions]

Excellent interview. Thanks for sharing!

[@velvetimpulse]

One of my favorite players currently on the scene. Thank you for this interview! Hope you can get Bobby Watson there some time

[@donjaron3172]

Thank you both. What a lovely guy. 😂

[@billiongenius]

Seemed like a badge of honor when I was in school to play on the hardest reed possible. Kids playing 3.5-4+ I was always perfectly happy with a 2-2.5. Maybe a 3 from time to time, but it was usually more work to get the sound. I’ve settled on 2.5. But I’m also not Vincent Herring, so don’t listen to me.

[@skimanization]

Wow, i enjoyed and learned a lot from this interview. Well done!

[@noosweat7022]

Great Interview and content Jay as always. Big shout out to Vincent also. Let the music play!

[@bluessax5089]

For those who don’t know, Jay demonstrated master level interviewing skills. He just let Victor talk. Jay probably said 15 words throughout the whole interview. No need to insert ego.

[@claragary]

Great man!! Thanks to both!!

[@ruby_gleyzes]

Amazing interview!

[@glennkaufman7228]

So first, I remember meeting Vincent on the street in Manhattan, probably 70's or 80's....he was playing and I had to walk up to him and meet him because he was just fantastic. I remember telling my dad that this cat Vinny Herring was playing on the street, but he will be BIG one day. My dad was Bernie Kaufman (studio with Sinatra, Bennett, Vaughn, Billie H., Ella, staff at NBC, Sullivan show, Como show, Tonight show NYC years, and on and on and on). He would "fix" his own reeds and used a meter to measure thickness, etc. Many NYC players (e.g. Eddie Daniels) would come to our home to have dad make a set of reeds for them. Anyway, it is a pleasure to listen to Vincent talk about this stuff, and more of a pleasure to listen to him play. Big talent. Peace.

[@remotecontrolledstud]

❤ This is AWESOMENESS!!!😊

[@keithburrell9882]

Excellent interview...i was late coming back from lunch...OUTSTANDING

[@alejandrodesouza4416]

Great interview. Thanks

[@floozifer7]

OMG!! Hal Stein in Oakland Ca was my first saxophone teacher, too! In fact, I still own his old tenor

[@AbiSax]

From history, they did the same thing to Charlie Parker. They told him you can’t play. He went on practicing and learning and nobody was better than him. Now we we have our beloved Charlie Parker.

[@RichardCharney-hk2kt]

I realized after switching to the lighter reeds, that dynamic range is affected at least as much by how soft you can play, as it is by how loud you can play. Since we use microphones at most venues, the loud end is no problem, and the soft reeds help with playing softly.

[@jazzman_10]

Great interview, really interesting points brought up

[@Sayonara_Andres]

Wow! That’s a revelation I need to hear! I’ll be using less strength reeds for now on.

[@Osnosis]

Frank Strozier was truly great. Only heard him live twice, but his sound was truly soul-piercing.

[@calkig]

I am looking forward to that jazz language book Vincent mentioned. Sounds like it’s going to be an amazing resource.

[@flechaluis73]

I heard at some point that the problem with reeds back in that period was because they were cutting them too soon. I had a whole bunch of reed that I put away because they sound bad, but I never threw them away. After a whole bunch of years, like ten fifteen years or so, I start trying them again and a lot of them were good to play with them.

[@robstevens9590]

Great interview! Interesting thoughts about Archie Shepp & Pharaoh Sanders, who had the "feeling" but not the foundation that Coltrane had. I appreciate Vincent's acknowledgement of McCoy Tyner's innovation.

[@directcurrent5751]

I like the McCoy Tyner passages enough to listen for just that. Amazing force in that era.

[@jacobchungmusic]

great interview!

[@AllThingsBrassAndTechnology]

Great interview. ❤

[@SAXloungeEF]

In tune and control it - YOUR sound

[@Cubsfan122112]

i recently went to a 2.5 soft using roberto's winds reeds for alto. also on the advice of my music teacher, who also plays sax. i used to play either just 2.5 java or even 3. when i went to 2.5 soft for roberto's winds reeds, it was night and day for what it did for my sound. my mp is a jody jazz jet 6 opening as well.

[@bluerhythmboy]

Love these long form interviews Jay! Would be a fantastic to see you interview Sax Gordon from a r and b / soul perspective

[@PepperWilliams_songcovers]

Vince is my 2nd favorite saxophonist. #1 is Cannonball Adderley (I don't think that Vince would be upset with me).❤❤❤

[@hflynnjr]

The level of technique among today's rising stars is off the charts! Why haven't we had another Bird or Coltrane? That's a great question I've been asking myself for some time as well. I suppose it's just timing. You have to have the right talent matching up at the right time in the cultre. I think we are experiencing a really good time for Jazz, and I think more exciting things are going to come as this next generation matures more.

[@Simon.the.Likeable]

Part of the reason why is because Bird and Trane broke through musical (of the listeners) barriers to re-write the rule book. You could also include people with as divergent styles as Ornette and Grover as artist who broke the barriers. Today's rising stars have to search far and wide to find fewer and fewer musical barriers to break. This is the residual problem of the massive library of recorded music which has accumulated. What is as new and barrier breaking today as what the pioneers were doing back then? What is possible now?

[@hflynnjr]

@@Simon.the.Likeable You make some very good points. Certainly Ornette and Grover were innovative and broke barriers. I didn’t really think too much about the massive amount of recordings available to us today and how that can influence innovation, but I see your point. However, I respectfully disagree that there isn’t much room to grow. If it were obvious, then it wouldn’t be special. That’s why those who find that space are a genius. Once they show us, some will have an “ah ha” moment, while the gatekeepers will most likely try to delegitimize it.

[@Simon.the.Likeable]

@@hflynnjr Yes, there will always be the gatekeepers. The recordings are part of that though. Students are recommended to mine the archives, transcribe note for note and practice the innovations of the masters. This leaves precious little time to find any new ground (If any at all) which they themselves may break. It's the law of diminishing returns. As long as there is copying and replication; there is minimal innovation. What do you see as room to grow? Certainly there will not be the explosion of distinctive genres which occurred last century. It is only possible to carve up time and lay accents so many ways. What can be new tomorrow when everything is somewhat retro today?

[@BobBattyMusik]

Thank you for that conversation, Jay. What an amazing and informative guy! I was intending to listen to it in two parts, but it was so riveting I had to keep going!

[@bettersax]

Glad you enjoyed it!

[@bobblues1158]

Truth spoken here!

[@barryoverstreet4876]

And I'm a Memphis man, too..... well, Nashville, actually; but, did my university Jazz Performance studies at University of Memphis, back when it was still Memphis State University. ❤️🎉🌟😀

[@randomdevices]

Oh, wow. I took lessons at the same school in Vallejo!

[@Balkanoscent]

Thank you so much M.Herring, and the team who did this material this is some work that heolps us getting better and it's pure gold. My english not being perfect, could someone tell me what is he talking about when it comes to Dave Douglas? Tutorials?/Music ? Do anyone have these ressources ? thanks

[@trobson9952]

Very intelligent explanations

[@jamiemeansjamesmusic]

I have a great Vincent Herring story. He came to my college with the Louis Hayes Legacy Band and did a concert and then we all split up and did workshops with them. During the clinic a student was complaining that his student model Vito wasn't very good, Vince asks to play it, and Vince proceeds to play the most unbelievable shit. He gives it back to this student and Vince just says "Yeah there's nothing wrong with it" It's the player, not the gear.

[@ChipTheMusicMan]

Great timing as I've been listening to Mike LeDonne's Heavy Hitters album w/ Vincent Herring on it and it's fantastic...also Eric Alexander and Jeremy Pelt - check it out! Also thanks Jay and Vincent for the enjoyable and informative interview :)

[@uterpia]

Thank you.

[@nicksavage4763]

Don’t ever accept Anyone telling you You can’t Play Unless you cant and Really Suck Because your heart Is not in it. ONLY YOU KNOW Be Honest with Yourself

[@christopherkiyui8071]

True.

[@kwootamuckbear9294]

Up there in orbit is Earl Bostic🎵🎶🎵🎷

[@marka8274]

I still haven't seen someone else play this piece online.

[@marka8274]

That Earl Bostic piece, I still haven't heard another player play it.

[@sax-jaz]

My father Preston Love was hired to Imitate Bostic on the label he'd just left, King records possibly.The tunes are now on you tube, like a ship at sea, until the real thing comes along , etc...

[@antoniomusgrove]

Y'all pushed my wig back with that one.

[@eliwyatt2292]

Loved hearing about the bit from Frank lol

[@edmundogordon7370]

Super good information

[@OGStazzy]

I’ve been studying old cats. After you do that you can tell who listen to who and really goes back in time to see what the language is

[@OlaoluwaOsuntokun]

Amazing interview! Can someone break down what he was doing there when he was saying everything revolved around the 5th? EDIT: starts around 24:50

[@WesleyChinTranscriptions]

Will be discussed in great detail in his book soon! Essentially a new method of bebop scales that is a lot easier to learn apply.

[@OlaoluwaOsuntokun]

@@WesleyChinTranscriptions Very cool! Thanks for replying, I'm a huge fan of your transcriptions, appreciate all the great content 🫡

[@sudhakartamang1792]

@@WesleyChinTranscriptionswow ! You re here too ..Great fan of yours man

[@OGStazzy]

Great video

[@tedcoop3581]

Awesome interview jay- especially loved the idea that it’s your sound and being in tune and in control is the important thing seperate from your personality as a musician. Idk how I feel about the idea that there’s no Charlie Parker of today or John Coltrane of today- there are soooo many ridiculously good players out there today who could easily jam and match greats of the past. Bit of over-reminiscence there in my humble opinion, give credit to the amazing young musicians out there now

[@beabeahollywood7848]

Loved that reed story in the 80s how they were so bad..glad we’re into the “Goden Age” now lol

[@normanlove3919]

Idea's..yeah Freddie! Whew!

[@allenrippe2418]

Many in the Classical Field are dismissive of me relying on 2.5 Vandoren Blue Box, but lately Vandoren V-12’s, on my Temor, where I have to play Tenor II, in the Memphis Knights Big Band, I use a D’Addario, Jazz 7, which aspires to be like a Meyer 7, . . .I get an interesting, squeak-free experience out of Vandoren V-21 2.5’s, whose contour of its rails, are more pronounced. I arrived to Memphis, in 1978, . . . just in time to hear Frank Strozier, and George Coleman. Oddly enough, the Student Coumcil Association at U of TN College of Medicine, (There is NO Undergraduate UT college in Memphis. There. May be a BScience in Nursing but all else is the UTHSC Health Science Center, where my Son, went, for his MD). That committee, totally loved Memphis Royalty, and brought in George to play with then, Frank, and Phineas Newborn, Jr., James Williams, Mulgrew Miller, Alvie Givan. . . trumpeter, Bill Mobley, amazing saxophonist, a category of his own, Kirk Whalum, bassist, Sam Shupe, and later the great Tim Goodwin, and more amazing Saxophonists, Carl Wolfe, Lannie McMillan, Jim Spake, Jack Cooper, John Lux, & now, Dr. Michael Shults, then there is, Opthalmologist, Bill Hurd, and Drummer, Tom Leonardo, and other several. I left out tonnage of gifted folks, to whom I apologize big time. All this went on, in the UT, old auditorium, which is now improved for the first years, to get their lab-coats. That committee, is gone, and so, are the great great Memphis Jazz Mafia, gatherings There are just issues, with compensation in this market, which . . were a kitty established with a behest, maybe. Mainly, the listeners of modernity, are keen to put in the work, it takes to know with certainty, the achievements, of the above players. Besides Wally Fowler, Dr. Stewart Nunnely, Prof McBride at UMemphis,and Howard Lamb, I’m not filled in on our world of Jazz Trombone. So, I’m boiling down, the issue to that alone. Come to, Jazz, . . . work, at listening to it. The work, will become easier over time. The demand will rise out of that, maybe even, the wage for playing it will rise as well.

[@allenrippe2418]

One I left out, mainly because my experiences of hearing the great Donal Hayes, playing with Marcus Miller, are all outside of Memphis. But, I DO, remember his audition, at the Mid-South Fair Talent Competition, in c 1980!! A total great!

[@allenrippe2418]

Remembered a giant, . . . Bill Easley

[@sitarnut]

I remember Paul Desmond saying in the 60's that if he got one perfect reed out of a box of 25 it was a lucky day.

[@monkeyman1ooo183]

Anyone have the vid of the gig that pops up throughout the video? I tried finding it but couldn't :/

[@bettersax]

I filmed that in Tokyo. Haven’t posted it anywhere though.

[@monkeyman1ooo183]

@@bettersax gotcha, thanks!

[@rinahall]

the king of man I can to be friend with

[@YoPaulieMusic]

MInd blown that Vincent is playing #2 reeds.

[@fun1111]

Great interview!What is Vincent talking about at the very end about corking off the pads? Does that only regard shipping? Thanks.

[@GardensoftheAncientsHerbal]

The style of modern reeds I don’t like from vandoren switched to D Addario and Rico on the alto and tenor. I use tenor on alto and get an amazing sound. Baritone reeds on a tenor. Gotta find the right strength cut of course but man massive difference if I’m using a wide mouthpiece in tone, projection etc. I remember when I was younger reeds were just beefier and generally more random which is good for learning. I think it’s good to begin with consistent reeds to learn and start, then getting more varied cuts as you are an intermediate, then find what you like. I like the harder reeds but I don’t struggle to get a tone as I pickle them and the pickling will soften the reed somehow. People used to just spend more time warming up and soaking reeds now people tend to start fast, expect the horn to be warm immediately. Phone culture. I like moderately wide pieces like an 8 Theo but I can play the horn insanely quiet. It’s all relative and about how hard it is too you. If it’s easy to play a harder setup and get a good sound then ya. Try telling big ol Clarence Clemons he needed to play a smaller piece and a lighter setup he’d probably look at himself then back down at you and laugh….

[@ajpascone6947]

When is Vincent’s book coming out and how and where can I get it?

[@jazzman_10]

I cannot play with any reed harder than a 2 1/2 and I have the same issue a Joe Henderson, when I play I am using 80% of my instruments volume and it does not sound loud... Many teachers I've had claim is due to playing with soft reeds... I am sure that's not the case and Herring's opinion seems to match mine....but I still do not why this happens... I have to bring the mike everytime, it sucks...

[@kwootamuckbear9294]

Some say: Vincent who 😮🎶🎵🎷

[@mauryallums2898]

Did he mention when his book will be coming out? I know he has been working on it for a while.