Saxophone Articulation - To Tongue Or Not To Tongue?

Articulation is such a deep topic. My college saxophone teacher totally changed my view on it.
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Bob Reynolds is an American jazz saxophonist and Grammy Award-winning member of Snarky Puppy. He's toured with John Mayer and Larry Carlton and released 9 solo albums, 4 of which made the Top 10 in Billboard's Jazz Charts. A pioneering educator, Bob has coached thousands of musicians through his innovative Virtual Studio. He is a D'Addario Woodwinds artist, amateur surfer, and popular KZbin vlogger. He lives with his wife and kids in Los Angeles, CA.
“A self-assured saxophonist and an unassuming yet effective composer…”
NEW YORK TIMES
“…Reynolds flexes an assured hand with melding hip-swiveling jazz and funk as a bandleader.”
LA TIMES
“Some of the freshest, most compelling, and most soulful music I have heard recently. Bob Reynolds is an amazing musician, with something very exciting and original to say.”
Joshua Redman, Grammy-nominated saxophonist
“Bob is one hell of a saxophonist! His sound is rich and his execution is effortless.”
Michael Brecker, Grammy-winning saxophonist
LONGER BIO
Saxophonist Bob Reynolds is an in-demand jazz performer, educator, and sideman, as well as a Grammy Award-winning member band Snarky Puppy. Born in Morristown, New Jersey in 1977, Reynolds grew up in Jacksonville, Florida, where he first started playing saxophone at age 13. Although he listened to a range of music as a kid, by his late teens he was a dedicated jazz student. After high school he honed his skills at Boston's Berklee College of Music, where he mentored with George Garzone, Hal Crook, and others. As a leader, he debuted with 2000's The Bob Reynolds Quartet, followed by 2006's Can't Wait for Perfect. That same year, he joined fellow Berklee alum John Mayer's band and spent the next five years with the pop star, touring and appearing on such albums as 2008's Where the Light Is and 2009's Battle Studies.
In 2013, he returned to his solo work with Somewhere in Between, which reached number one on digital jazz charts. He then made his Snarky Puppy debut appearing on the genre-bending group's 2014 effort, We Like It Here. Two years later he was back with Snarky Puppy for the Grammy Award-winning Culcha Vulcha. In 2017, Reynolds delivered the EP Guitar Band, which featured appearances from Kneebody bassist Kaveh Rastegar as well as fellow Snarky Puppy members Robert "Sput" Searight (drums) and Mark Lettieri (guitar). In 2018 he began touring with 4-time Grammy-winning guitar legend Larry Carlton. He also released the albums Hindsight and Quartet which both landed in the top 10 of Billboard's Jazz charts. A passionate educator, he cofounded an annual summer retreat for adult saxophonists called the Inside:Outside Retreat and he's coached thousands of musicians through his Virtual Studio, a ground-breaking web-based teaching platform he built and has operated since 2010.
#articulation #saxophone #jazz

[@bobreynolds]

Here's the link to our livestream: www.crowdcast.io/e/groundupmusic10/register

[@chadsmith1890]

Bob, when you played more "legato" and less articulation you sounded more like Stan Getz! Stan had so much amazing swingin' playing and could play some serious tempo too....most people forget how much of a badass he was because they focus on his Bossa era but he could swing hard! There is a recording of him playing Cherokee that is awesome and his playing with the Oscar Peterson trio is gold! Now I have to go back and look at the solos from the Eternal Triangle too. They are so good! Thanks for sharing and thanks for putting on the masterclass with Chris too!

[@matthewcincotta7131]

Hey Bob. I was wondering if you could talk about the importance of playing standards in all 12 keys/more than just the “original” key. Maybe talk about how each of you think about transposing to different keys? Thanks!

[@bettersax]

Looking forward to this Bob. I think you should get the Mark 6 overhauled while you can. You will be so happy when it plays like a new horn.

[@stevel6895]

I liked the legato version better than the articulated solo. Great playing!

[@matthewn.5614]

Here is my question: Have either of you ever had to turn down a gig because the music was too difficult?

[@operationblackout1095]

been always trying to figure out why when I play donna lee is so choppy and uneven for so long... real helpful vlog

[@liamoneil3991]

Hi Bob! Would love to hear your and Chris's opinion on memorising jazz standards and how to keep them relatively ingrained. Looking forward to it!

[@bobreynolds]

That’s the core of what we’re after tomorrow

[@liamoneil3991]

@@bobreynolds Great Bob. Good to see that your back!

[@gradyoco]

Thanks Bob, really made me reassess my playing

[@stevemincer9248]

You’re videos are the best! Just fun to watch!

[@owentemplin3372]

Hey Bob for the Q&A I wanted to ask how you guys figure out what key a standard is in and what the changes are? (assuming your transcribing/learning the piece by ear).

[@olivermorris6386]

Is it beneficial to transpose the head of standards in all 12 keys?

[@shanebromfield2192]

Yes, it helps develop your ear and ability to play in all keys.

[@eufrizz]

I would love it if you could talk a little more about articulation, Bob! I have recently been transcribing some solos and trying to match their articulation with the goal of transferring a better (more swingin?) feel into my my playing. I'm finding I have to use my tongue more than I'm used to (and in places I'm not used to), so the idea that I should be slurring more is at odds to that. Maybe I should be trying to get a good feel to come from the fingers or note choice instead? But it seems to me like most of the greats are heavy on articulation.

[@ewedude]

A question for either you and/or Mr. Potter to consider for your Vlog: I have a 15 yr old student, one who has control of the fundamental mechanics of the saxophone, having been focused on the goals of making All State band (check), knows the 12 majors w/arpeggios cold; is a proficient sight-reader in all meters, and has to date played (sheded productively) on several of the Ferling's and most of the Selected Studies etudes. S/he now wants to begin her study of the language of jazz and popular saxophone playing. (An alto player.) How do you recommend I begin with her?

[@jaylingreen8977]

You should give a Eastman 52nd street horns a try

[@tomgallosaxmrblues]

Damn wish I could be available for this. Please let us know when the rebroadcast will be.

[@bobreynolds]

No rebroadcast but replay available to attendees. So if you sign up and can’t attend live you’ll get link/access to replay

[@christianparadiso3456]

How to utilize playing standards to work on time feel?

[@yoelhooper-antunez1016]

I csn totally hear the difference

[@jahdear]

Try to get better on my standard

[@Dawsonclick]

Ask if he writes out phrases or ideas to fit the changes when learning a new tune

[@tommyt7566]

Not many take-always from this... More & more OCD compulsions emerging from a great artist as they get older... Struggling to find lessons or something learned here, more like how not to be. I'm hoping for a return to those great informative and entertaining podcasts of yesterday.

[@bobreynolds]

I appreciate the honest and constructive comment. Thanks, Tommy.

[@philjudd3473]

First comment...:-)...that's how much time I have...:-)

[@BrazenNL]

Hey, Mr Perfectionist, remember that _off the cuff_ can also be a goal, and you succeeded!

[@KristianJacksonmusic]

“Mr Perfectionist”. BAHAHAHAHAHA!

[@thomasmadigan6009]

A question for you and Chris Potter: I don’t know if you met him, but was there anything Lee Konitz, may he rest in peace, said or did that stuck with you?

[@ethanmaruyama1149]

Here are my questions: While improvising, do you hear what it’s gonna sound like in your head? Book recommendations? Album recommendations?

[@HansBaier]

When you speak, do you hear what you are going to say in your head?

[@garripastor4]

@@HansBaier wow

[@jacquelamontharenberg]

After playing for so many years, it just comes naturally to me. I am not thinking about it. If I think about it then it comes out too mechanically and technically. Before I start playing, I do think about the key I am playing in also quality of chords, major minor etc but that's about it. When I am practicing that is when I am really thinking about structure. Once it is internalized then it becomes a part of me and I just react to the music. It is a beautiful thing.

[@vishnusriram]

Hey Bob! I'd like to know if you or Chris have any tips on how we can apply what we learn practicing over jazz standards to pop tunes/modern r&b/hiphop/fusion, etc. As a musician just beginning to get saxophone gigs where I have to improvise, I find myself feeling trapped/a little inauthentic when I improvise over pop songs or some non-jazz types of progressions using the same strategies that I learn in jazz lessons. I'd theoretically like to be able to improvise well/create melodies over simple progressions before more complex jazz standards. Could you guys maybe could go over improvisation strategies using minor and major pentatonics for more cross-genre improv? Thanks guys, I can't wait! :D

[@marcusgibert3324]

Hi Bob! A couple of thoughts: 1- This informal, short format feels very fresh and it's as interesting as always! Very interesting topic. 2 - You should know that, when you played the first example, to me it didn't feel overarticulated and it sounded great. I think you have a very clean articulation and to me it's a nice part of your voice. Thanks for your work!!

[@marcusgibert3324]

And excuse my english!

[@dasa3283]

Hey Bob, in which key do you play here just friends?

[@grandesax]

man thank you for your videos you make me happy to be a saxophone player!

[@alecfields5968]

How would an experienced saxophone player who is new to jazz approach standards? Should a classical saxophonist try to learn a more difficult standard because they are more technically proficient or should they go for easier standards to better learn shapes and phrases?

[@larrycook9219]

Hey Bob - I thought you actually sounded a little more melodic and lyrical when implementing the slurring concept, even though perhaps it felt awkward. Also a little less aggressive and driving. Both renditions were great mind you. Thanks again.

[@bobreynolds]

Thanks and yeah, I agree (which is Garzone’s point) it’s just that it can FEEL awkward as the doer (but not to the listener). Thanks, Larry.

[@rymy3011]

I agree..legato was better!

[@ukulelejazz1105]

@ 4:09 -> Should ask Chris Potter about getting more girth for your bottom end... But seriously, always great to see a new vlog from you Bob! :D Thank you! -Joey

[@samuelellis8567]

A few questions: What is your standard method for learning and Improvising over a new tune? How much of a difference does a change in saxophone make to your overall sound? When learning jazz is it the best to pick standards to learn based on its recurring concepts?

[@jacquelamontharenberg]

Glad to see that you have only gone slightly bonkers...! My kids are grown and I am at the point in my life where I do not have to work for the man anymore, so I am completely bonkers all the time. We home schooled our daughter K-12 and she did exceeding well at her university, and went on to get her masters before the age of 25. It feels great to be able to practice, play, record, write and with the rest of my time working for my wife... Good to hear from my favorite music teacher. I have been playing for so long that I really do not think about articulation so much. It just comes naturally. Sometimes I play straight, maybe tongue a little, and add vibrato. It depends on the song and where I am in the passage. I use to tongue too much, but play much more relaxed now. 60 BPM baby.... thanks. ..It is really important to record yourself so you can hear how you play. Articulation, phrasing, intonation, breathing, etc... You had a great teacher. It comes through when you play.

[@Gamborg0101]

I'd like to ask; Do you reduce the chord progressions to a key centers? So for example if you have a ii v i, in g-major, do you just think g-major, og do you think A dorian, D mixolydian and G ionian? What kind of superimposing material do any of you use?

[@milesberrysax1212]

Can you ask Chris about reed strength? I know he plays on soft reeds with a medium tip but still gets a full tone

[@sergej100qca4]

I think it's al about comfort. Adderley, Parker and Stitt played 5 tip opening and a 3-4 reed.

[@alexambroise111]

Here’s my take, if you didn’t get an answer yet (didn’t check out the live stream! I should): You should strive for a full tone regardless of reed strength. I used to rely on harder reeds for a full tone and softer ones for a buzzy/edgier tone. True fullness of tone comes with relaxing your throat! Very broad statement, but it will all make sense once you read up on Joe Allard’s teachings. Also, I heard Adderley played 2 1/2! Second to Phil Woods on my list of fullest alto tones. Hope this helps, cheers!

[@georgeshelby7676]

Wow! I didn't realize how bad my phrasing was until I just tried sluring the whole thing. That was not pretty. Thanks Bob for posting!

[@DmitriiSergheev]

You sound killin' at SBA!!!! I like it more than MarkVI.Very focused and dark sound

[@CharlesHarrisonMusicTuition]

I would love to hear how Chris recommends developing 'feel' and phrasing! Thank you so much

[@alhomicz5644]

Over Articulation?...Oh, yeah. I’m so guilty too. Thanks Bob. Great insight.

[@sergej100qca4]

I have a few questions for Chris: How do you learn bebop vocabulary and what to do when you transcribe a solo? How do you practice tone? How to practice becoming freer over changes (Sonny Stitt is one of my favourite players and he is able to play non stop and create these flowing lines)? Thanks in advance!

[@cjhinds8331]

Question for you and Mr. Potter: How do you get “the sound.” Not just gear wise, but what are some technical differences in terms of shaping your mouth and different warm ups you use? (Especially for us that come from an alto player perspective)

[@rafagxjunglezz]

@CJ Hinds i wanted to ask the same question! Thanks

[@baileyayyy5085]

Please answer this one Bob I just switched back to tenor after like 2 years on alto and I'm dying

[@HansBaier]

I am kind of surprised... I don't like Potter's tone at all

[@HansBaier]

Look for Joe Allard on KZbin, that's where Breckers studied (Allard only thought sound, almost not much else)

[@HansBaier]

It is all a out long times and overtones

[@craigiefconcert6493]

Wow, this was great to hear! I’m a beginner this year and I like 61 bpm so good to hear what you said and really no need to try and push it faster for a long time for me. I also like how you repeated until you got what you were after. The articulation comment is gold! I have been wondering that exactl question (how much to articulate exercises etc). Thanks Bob!!!!!!

[@lisamarieseaman8847]

What was Chris' first horn that he actually owned? Also, how much time does it take you to get used to a different saxophone? A day, an hour, a gig? I was recently given a refurbished Conn Director/ "Shooting Star" that was made in Mexico sometime between 1969 - 1971 and it feels very different compared to the Yamaha that I was borrowing. It is the first tenor sax that I have ever personally owned.

[@wenting2457]

Hi Bob, how do you expand an exploration of jazz beyond just playing standards? Is jazz just an education, now, something you learn to influence your playing, before you start making something new? Or is it still possible to make it feel modern?

[@rickgraham786]

Damn Bob! That clip of you transcribing Sonny Rollins and Sonny Stitt .WOW! One might get the idea you're a fantastic player!🎷😎

[@brianblocker5684]

send your Mark VI to Dell KnickerBocker @thesaxclinic - He's got bench time and he's the MASTER tech

[@jraohana537]

Excellent video. I completely understand what you and George Garzone mean about over articulation. I have trouble slurring 3rds or arpeggios going up from the right hand to the left. An example, F major arpeggio: F-A-C. When playing fast as part of a line, the transition from F to A is not clean. My left ring finger is not going up in unison with my right index finger so a bit of the G is played. I'll compensate by tonguing/articulating the A to hide the G. I'll definitely take your 3 S's advice to correct it. Thanks

[@seandeegan2067]

How do you balance scales/arpeggios/other drills with actual improvising/noodling?

[@billducker7404]

The SBA sounds brighter but the 6 is more subtle Just get it overhauled but you sound great on both Bob. Thank you and God bless you and your family. Bill. UK

[@theblueriverjazzbandmusic2540]

Why do people keep asking questions here? I love Bob but he almost never answers the questions here( and there are many good questions!). You have to sign up and take lessons with him. He’s not going to take the time to answer all these questions for free.

[@rymy3011]

Playing that fast like in the beginning of your video ...what speed makes you stop tonguing every other note? In this speed, you're definitely not slurring every other other either?

[@tonypargva]

Thanks Bob! It's really interesting. When you play legato, it sounds very good too. listening to you I feel that it's an interesting way to practice the "intention" we put into the horn.

[@ericdasilva7073]

How do you improvise over a tune in an expanding, creative way but referenceing the melody occasionally as a motif?

[@frankzona9867]

Bob, great video. I have an early B/A and MVI. My main horn is the VI but that B/A is such a badasss horn. Better bottom than the VI, better altissimo and faster action (except the palm keys).So why the hell do I make the VI my main?.... I don't know. Thanks for putting Garzone in there. That fuzzy video was like an Obi Wan holograph. LOL He's my hero as are you. Great insight into articulation, thanks. Lots of food for thought.

[@vladimirlopez7840]

I think the over use of articulation is because so many saxophonist start out learning the classical music way using classical books.

[@Wannabeguitarist45]

My question: What's your process for having a standard stick around in your memory? I have had former mentors tell me it's easier to remember standards when performing them is part of your work, but both of your performances involve many originals or another artist's tunes. It's easy for me to pull out simpler tunes I've worked on (ex. Autumn Leaves, Satin Doll), then there are those I've worked on recently (ex. Stella by Starlight, I'll Remember April), and finally there are the tunes that have fallen into obscurity (ex. Joy Spring, I'm Old Fashioned). How can I work on keeping my repertoire full without needing a refresher on standards before a jam? Thanks for the video Bob and I hope you're doing well!

[@bobreynolds]

Hi Seth! Those are some of my top questions, too. ☺️

[@zachlevin7508]

Hey Bob, thanks for another great video. I was wondering if you could discuss with Chris about improvising on more different tunes. For example, whenever I solo in Giant Steps I seem to sound more like I am just playing an exercise rather than coming up with engaging ideas and seem to repeat myself often. Thanks!

[@bobreynolds]

Good one!

[@MarkPeotter]

@BobReynolds I don't know anything about your professor who discussed NO tonguing. But watching him talk about it, my reaction is that he was going through a personal crisis of trying to invent something new. Something never thought of before. My opinion, however, is that NOT tonguing is like speaking without diction. Bad idea.

[@bobreynolds]

1) The point is NOT to not/never articulate. It is to understand that the time must reside in your fingers first. If you're articulating you'll never be able to discover that. 2) Do some listening research on George Garzone. “I'm not the master of the saxophone, George Garzone is.” -Michael Brecker.

[@oostapchuk]

George Garzone is a life changing person. One of the most influential and sweetest persons I've ever met. My question to Chris: why you never record your acapellas in a studio? All we have now is bootlegs from multiple masterclasses. Many people love your solo playing, so why not record it professionally? Album like that would become a compass for musicians!

[@jakubgiernatowski2885]

Sometimes your vlogs are so good I just forget to click thumbs up. Sorry for that

[@KhrisRoyal]

I don’t know man, I dig the articulation way more.

[@collinsbruer740]

Bob. What mouthpiece are you using on the SBA?

[@danieldaemen]

Is there a possibility to pay the livestream with Paypal, Bob?

[@jasonandrews9058]

Plastic resonators on a Mark VI ......Interesting 5:07

[@mikester99]

Hey man, I haven't watched your content for some time, hmmm , single Dad here .. lol .. but just noticed your Vlog topic on articulation. Great stuff , it gave me alot of confidence because, being a singer for so many years actually makes articulation on the sax really good :) Great content man, keep it up :)

[@cvtVocalCoach]

Thank you for posting again Bob! Interesting and educating as always! Love your vlogs! AND PS! The thing you do with that horn in those Sonny Stitt n Sonny Rollins solos - Is AMAZING!

[@brianmatthews232]

Hi Bob, you could sign the pad and give it away?

[@BoninBrighton]

Why is it that some people (me) simply have no rhythm?

[@patrickthames8853]

Good to see you back at it Bob... We missed you and are glad that you are posting some Vlogs. Thanks for the videos and music!

[@curiousfurious5877]

George Garzone has cut my tongue out...

[@yoma_ma69]

Hey Bob! My questions: Other than music, what other interests do you guys take part in? And what types of exercises did you guys do to improv your time feel?

[@sportsguruca]

Bob, you might be over-thinking it a bit. Coltrane played with the perfect amount of articulation for him. Brecker played with the exact amount for him to sound like Brecker, maybe more in contemporary rock and less in a slow ballad. And you sound brilliant when you play like YOU. The combination of great time, feel and notes give your your unique sound. It’s time to experiment and CREATE everyday, and stop practicing Stitt on that beautiful SBA of yours. Just saying...

[@jakefine4216]

Here's a question from a drummer! "Were there any standards that caused your conception of music to expand? What was it about these, either the composition itself or a particular performance, that caused this moment of expansion/epiphany?"

[@alexambroise111]

Jacob Fine hope you got your answer. Here’s a standard that opened my ears wide open: Inner Urge

[@omerwienner6823]

Here's my question: How you approach playing and soloing on non lyrical standards like Parker tunes in more lyrical way?

[@thedking94]

How do you get out of the habit of playing with muscle memory, and how can we be more spontaneous when we improvise.

[@bobreynolds]

Good one!

[@jordantaylorreed]

Livestream Question: If you two could give a Ted Talk on something non-music related, what would it be?

[@ziruini5071]

Jordan Reed Interesting question. did they answer it?

[@jordantaylorreed]

@@ziruini5071 I had to work so I missed it. Here's hoping!

[@LorenzHargassner]

Gret idea, Bob! Thanks a lot for this opportunity! Here are my questions: 1. "What about the lyrics? They say Dexter Gordon was often referring to the lyrics when announcing (and probably learning...) standards. I think, people tend to rave too much about the chords and forget about the melody and that it came to carry those words, to tell a story within a broadway show or something like that. What do you think about it?" 2. "Lots of those standards are known in the versions that are contained in those "Real Books". But what about the original versions of the broadway shows that they were taken originally from (or operas as Gershwin's "Porgy & Bess") - those versions are often hard to find on a recording but in musical scores, so there's sometimes not a real sonic picture of them to start with. Did you ever work on those "ancient" versions and do you think it's important to go back in history so far?" 3. "What about the 'verses'? A lot of these standards do have more parts than we all usually play at jam sessions. For example "Stardust" has a great opening sequence that is oftentimes left out, because most of the fellow musicians don't know these anymore. Shouldn't we all ;o) learn them again, too...?" Best from Hamburg, Lorenz

[@Squares1960]

Bob , what would be great is a vlog about the making of Runway!

[@bobreynolds]

Good idea

[@guywithdogs]

How much "gear experimentation" do you both succumb to? As in different reeds, mouthpieces, ligatures, microphones, software, etc. Do you fiddle, or are you focused on working with what you have?

[@noahpettibon]

Loved this!

[@sebastiantill6336]

A lot of the old jazz masters speak about composition and writing your own solo on a set of chord changes or on a standard. Bebopheads are like this. Little solos, little blueprints for improvisation. Would be interessting what chris thinks about this approach. Have he ever wrote whole solos out on a paper to improve what he wanted to learn in this moment. Cheers from Switzerland and im looking foward to see you guys.

[@raffaelelitterio5370]

Hi Bob, I would ask to You, and Mr Potter of course: what flow do you follow when you improvise on a standard? Do you follow your line, do you think about the changes? The main theme? All that things together? The more i study solos of the greats the more i feel they are developing their melodic ideas, and I think i am still stuck to the harmonic structure as the path to follow, and it works, but its a great limit also. It would be great to hear what You and Chris think about that. Many thanks, and hope to see you soon again in Rome. Stay healty you and your family.

[@ScoobySTi777]

As a bassist on the other side of the world,hard times ahead for musicians. Large gatherings are a long,long way off. So gigging is a long way off. What are your thoughts on this? Stay safe,all the best to you and yours.

[@musokid89]

Mk VI vs SBA vs 82Z ? any thoughts on the yamaha 82Z tenor?

[@captainkevinbhosle]

Hey Bob, here's a question, Most of the academic jazz music students are taught is from the era of Duke Ellington, and other big band composers, which has no relevance to what people want to hear now a days. What are your views about this? Also what are Chris Potter's views on this?

[@davidskey]

Question: when improvising, how much of what you play is guided by a line you're hearing in your head (i.e., not necessarily based on theoretical understanding of the chord/progression) vs. how much is based on theoretical intuition (i.e., what will work with the chord/progression to produce the sound palate you're aiming for). Does your answer vary depending on the style (e.g., bebop vs. funk) or whether you're playing "inside" the changes or "out"? Do you have suggestions for how students and people learning improvisation can best navigate this dichotomy? Any exercises you can suggest to help a player integrate these two?

[@qibert]

Bob, you would sound amazing if you were playing a length of hosepipe with a mouthpiece at one end and a funnel at the other! The horn isn’t the deciding factor. Or is it? There’s a question for you both.

[@alexambroise111]

Thoughts on Ben Wendel’s and Chris Potter’s and other greats articulation?

[@EshaanSoood]

In retrospect what are the first 15 standards both you and Chris recommend someone should learn from the point of view of exploring harmnony and improvising over certain harmony

[@clauscleber7189]

Is there any way to access the stream for people who do not have a credit/debit card? Great sound on the SBA btw!

[@bradyleafloor1723]

Thanks for another video, Bob. Glad you seem well. As a question for Chris Potter, I would ask if he could expand on something I heard him say years ago in a masterclass in Canada, in answer to a question about creativity and developing evolving ideas over a song. He spoke about the head-space of getting out of our own way, of not forcing it. If possible, I'd love to hear more of his thoughts on that. Oh, and thanks for the reminder of The Eternal Triangle. I haven't listened to that in way too long. Cheers!

[@philjudd3473]

What is the most basic or simple method you guys use to memorise all the elements of a standard? And is it worth learning standard progressions (eg ii v i's) in all keys themselves to make it smoother memorising standards which are made of these progressions predominantly?

[@saxpride100]

11:12 hi there

[@dariusduesentrieb]

would be interesting to see the different frequency spectrums of the two horns youre talking about.

[@AviRafaelMusic]

Questions for Chris: can you share your thoughts about the difference between playing standards and playing in a more electric environment/style/genres like in Circuits?

[@ramonfw]

Good to see you, Bob!

[@alanhirayama4592]

Thank you for your thoughts on articulation, very interesting! Also, you sound great on your SBA! Here's my questions: 1)In order to play the changes in the bebop tradition, what are your most important thing to work on? 2)Have you tried the Syos 3D printed mouthpieces? What do you think about them?

[@bcmsax]

Hey Bob, Maybe ask Chris if he has any potential collabs with someone lined up or if there is someone Chris would like to connect with in the future? Thanks 🙏 #perfectistheenemyofgood

[@patrickmoran4645]

Question: Who are a couple of your favourite drummers to play with and why?