I came across references to this book while searching for material to practice II V I lines. Imagine my surprise when I learned that the book was out of print. After searching all of the common areas that one would look for a book library, Amazon.com, and a few of the online music retailers I settled on calling up a guitar player friend of mine to see if he had a copy of it lying around. Is my great luck that he did and now I have a copy of this excellent book.

The best part about this book is that it is not only for guitar players. It is written well within the range of most treble clef instruments and it’s spiral-bound so that it sits on a music stand perfectly without flipping close like a standard bookbinding. But enough about how it’s produced let’s talk about what’s inside.

The book opens with a section of major ideas. These lines begin on various degrees of the scale until he has created lines that include all the degrees of the scale. The second section features minor ideas and rotates through scale degrees like the first section. The third section like the second and the first rotates through scale degrees but is ideas based on dominant 7. In the fourth section begins ideas based on the II V I movement. In the previous three sections the ideas presented were based on one chord across the entire line whereas this section features the standard progression. The last two sections of the book are dedicated to simple lines and turnarounds

It is my opinion that to gain the most from this book you have to spend a lot of time with it. Mr. Wise did not spoon feed all of the ideas in all 12 keys so you will have to spend the time doing it yourself. Which we all know is the best way to learn any material anyway. With that in mind the 824 jazz ideas listed in this book have kept me occupied for the last two months. Slowly I have seen the material creep into my improvisation I still think I’m several months away from having a firm grasp on a quarter of what is shown in this book.

Take away: this is an excellent reference material book for anyone who wants to learn new material and broadened their bebop vocabulary. The only downside to this book is that it is very difficult to find it in print. On Amazon there’s a single seller trying to sell the book at over hundred dollars. Of course I don’t see this book being valued at $100 but there are many digital versions of this book floating around. See the link below.


I highly recommend this book to anyone looking to broaden their bebop vocabulary.

I bought this strap on a whim because I wanted to take some of the load off of my neck. This was not the best way to spend $10+shipping.

Comfort: Due to the lack of shoulder padding i find this unit to be less comfortable than a proper padded neck strap. But if  you are coming from a traditional leather strap or basic nylon style neck strap this unit will be many times more comfortable.

Ease of Use: I rate this one low because unlike the Neotech the generic Chinese shoulder straps are not distinguishable from the waist straps. This makes it possible for you to wear the strap upside down.
Fit: This proved to be too small for my 6’1″ & 225lbs. This cross strap fell just below my nipples. Far to high to breath comfortably while keeping the horn at a sensible height.  
Hook: The hook arrived painted black and with a small 1cm piece or tube rubber to protect the strap eye on the horn. Within 1 hour of use the plastic had split allowing the clip to contact the neck strap eye. This quickly wore away the metal of the clip. By hour 5 the clip had a 0.5mm indentation due to metal wear. By hour 8 the clip had been worn half way through and the thumb activated clip no longer functioned properly. 
Take Away: For smaller musicians playing on smaller horns this will work quite well. For larger musicians, females or players of larger horns this will likely be uncomfortable. Aside from comfort the lackluster clip material could lead to a damaging fall from waist height for your horn.  On the other hand it does fit underneath a jacket for those formal occasions. Buy cheap and toss when it becomes a danger to the horn.

Please feel free to share your comments on my post or your opinion the equipment being reviewed.

1970’s American craftsmanship meets 2012 tonal concepts, the results? An in your face, no holds barred baritone sound that will hold its own against just about anything in a modern band.
First Impressions:  This piece dates back to 1974 and the bite plate shows it. Despite this the rails and table are true and in near perfect condition. The person I bought it from was the original owner and had played for decades. This piece has a very slim mouth feel.
Ligature:  The stock Brilhart 2 screw ligature was slightly stretched and could not tighten as much as I prefer. Instead of the stock ligature I swapped on a generic 2 screw soprano ligature. The act of tightening a reed to the mouthpiece gently formed the soprano ligature to the mouthpiece replicating the original.
Reed friendliness: This piece loved every reed at my disposal and played well with a 2.5 – 3 reed on every brand I tried. After my debacle with an internet ordered Otto link its nice to have a mouthpiece that wants to play on just about any reed available.
Response:  This thing really barks when asked to. It seems to lack some of the subtleties you get from a lower baffle piece. This is not a bad thing per se. Articulation is easy up and down the horn with only a slight bit of resistance. Just enough to push against while playing.
Tonal/Dynamic Flexibility:  Depending on the reed choice this mouthpiece is either a sledge hammer or rock hammer. I can with great concentration and relaxation coax out subtone but this piece feels like it wants to rock. As a long time Ronnie Cuber fan I love the “Cuberish” tone I can generate with this piece. Of course I don’t think that is a product of the mouthpiece alone but this piece combined with my physical make up and tonal concept can really make this howl. 
Other: This mouthpiece has a very slender body and would great for a tenor player making the leap to baritone. The players embouchure will make a natural leap from metal tenor mouthpiece to this piece.
IntonationThis piece plays well in tune, when I’m in tune that is.
Take Away: This is my second Brilhart Level Air piece but my first on baritone. This piece is my new go to mouthpiece when I am playing with amplified instruments. Compared to my Rico Metalite this piece has more depth to the tone. The best part is that these vintage mouthpieces can be had a very reasonable prices on ebay and at local music shops. 

Please feel free to share your comments on my post or your opinion the piece being reviewed.

I bought this piece because my Tone Edge Hard Rubber Link just didn’t have the gutsy sound I was looking for. Even though I know better than to order a Otto Link or Berg Larsen from the net without playing it first, I was was sure that I would get lucky and get a gem of a piece.

First Impressions: The mouthpiece is heavy. It weighs in at 5.9oz. For comparison my hard rubber Yamaha 5C piece I use for classical/ensemble work is 2.13oz and my Vintage steel Brilhart Level Air piece weighs in 3.3oz. I am not sure if the weight effect the tone but I like the extra weight of the piece.

Ligature: I used the stock one screw ligature and a Rovner Dark. I couldn’t tell the difference in tone between them. The Rovner did secure the reed much better than the stock ligature.

Reed friendliness: Reeds used in play test: Rico Orange Box 3, Hemke (3, 2.5), Fibracell (2.5, 4), LaVoz Medium Hard, Legere 2 1/4. This piece did not like any of the reeds.

Response: I had issues with reed compatibility on this piece. I played around 20 different reeds and all of them played slightly poorly with this mouthpiece. I then played the same reeds on the Rousseau, A Level Air, HR Tone Edge link and they played with various levels or success. It would seem that this Link suffers from some issue related with its facing. This piece has a date with Eric Falcon over at Warburton for a reface later this month.

Tonal/Dynamic Flexibility: The best performing reed at my disposal was a Fibracell, which is not my favorite reed for Otto Links but provided a way to experience the playing characteristics of the piece. The piece has a very “Link” like tone. What I mean by that is that the sound can be modified by the player and his/her preferences in reeds and embouchure. I have been a Baritone Link player for the last 12 years and still consider them a great overall piece.

Other: The stock ligature did not hold the reed very securely and allowed it to move around. I have since paired it with a Rovner Dark ligature.

Intonation: This piece will be a great piece after being cleaned up at the refacer. My YBS-61 played exceptionally well in tune with this piece although the altissimo was weak sounding. I suspect it could be an issue with the reed.

Take Away: This piece has the potential to be grand but until it’s worked over it is a bit of a dud. In the future I will purchase Links only if they have been worked over by a known pro or I have played it before purchasing. I do get the impression that it will be fantastic when complete.

Please feel free to share your comments on my post or your opinion the piece being reviewed.

I am a huge Ronnie Cuber fan and this album was quite possibly his first dud. As a child of the late 70’s and  80’s I feel quite confident that my musical viewpoint has enough context that I can safely comment on this album. I have only recently brought this back out of my collection after listening to Enrico Pieranunzi collaboration with Cuber on Inconsequence. I just could not remember anything about this album and felt that it deserved a listen. I was partially wrong.
This album is a collaboration of Ronnie Cuber and George Benson. Both titans in their genres but as often happens in collaborations one parties style seems to win out over the others. In the case of this album George Benson’s office friendly style of smooth jazz seems to sap the very life out of Cubers normally gutsy solos. I am not suggesting that there isn’t great performances going on, in fact the problem is that the great performances are smothered by layers of synth-pop keyboards and over processed bass. 
Of course this album is from the 80’s so some amount of this is expected but one only has to look to David Sanborn, Richard Elliot, or Grover Washington Jr to hear what 80’s smooth jazz was when done well. Cuber still does what he does best and is well accompanied by George Benson. But again, the music on this album just did not stand the test of time in a major way.
Worth listening to? Yes with the caveat that you should NOT pay much for the album. The sticker on my copy said I paid $1.99 and at that price it’s worth it to add to my Cuber discography. I don’t see it occupying a recurring position on the average Cuber fans playlist. 
Please feel free to share your comments on my post or your opinion the music being reviewed.

This album was given to me by a close friend because he knew I played baritone sax and he didn’t listen to it any longer. What a god send. This album has garnered a very high spot in my musical rotation list.

From the moment you press play this album smacks you in the face with Ronnie Cuber’s amazing soul and style. The very first song begins with a rapid fire “Adams” style lick and from there takes off in a non stop adventure in rhythmic variations and bouncing lines. Throughout this album Cuber demonstrates how lyrically baritone altissimo can be folded into moving lines.

This album is Enrico Pieranunzi’s but at times the interplay with Cuber really gives the album the feel of being two guys against the world. Yet at other times Cuber steals the show. This album features a track with Cuber on flute. I don’t have many examples of Cuber on flute in my collection of 7 Cuber lead albums so this was a real treat. His flute tone is full and warm with a hint of fuzz which really helps to identify him on the instrument. You certainly won’t mistake him for Galway but he sounds fantastic. His tone is very reminiscent of Herbie Mann.

This album seems to be hard to find but  if you do I think you will find a rewarding listening experience.

I bought this 2010 released album on a whim because Gary Smulyan  is on it and I am fascinated by lyrical bass solo’s. To which Dave Holland brought in spades. Of course there is plenty of amazing playing happening on the album the lineup is as follows:

Rhythm Section 
Dave Holland – bass
Nate Smith – drums
Steve Nelson – vibraphone and marimba


Antonio Hart – alto sax, flute
Chris Potter – tenor and soprano sax
Gary Smulyan – baritone sax
Alex “Sasha” Sipiagin  – trumpet, flugelhorn
Robin Eubanks – trombone

The album opens with a moving and dynamic solo by Smulyan which then gives way to Holland’s lyrical bass improvisations. One particularly enjoyable aspect of this album is hearing Chris Potter on soprano sax. His tone is warm and slightly woody which I enjoy immensely as the soprano can lend itself to sound shrill.

To quote Earl Lundquist’s review of the album:

The octet is anchored by Holland’s quintet of ten years, a nucleus that includes Chris Potter on tenor and soprano, Nate Smith on drums, vibraphonist Steve Nelson, and Robin Eubanks on trombone. Added to that mix is Antonio Hart on alto saxophone, Alex Sipiagin on trumpet and flugelhorn, and Gary Smulyan on baritone saxophone. These added horns bring a welcome power and swing to Holland pieces like “Ebb and Flow.” Compare the original recording — in the quartet setting of Dream of the Elders — to the arrangement on Pathways and you’ll hear how the additional horns push the melody and ratchet the swing even higher. “Shadow Dance,” another song from Holland’s repertoire, has never grooved so hard.

 Read more: http://blogcritics.org/music/article/music-review-dave-holland-octet-pathways1/#ixzz1hymViuvN

To sum it up in as few words as possible. This album is a good anytime listen with enough variety to keep you returning and there are more than a few great licks to learn on this album.

I am a voracious reader of all types. Books, magazines, newsgroups and blogs make up 99% of my reading diet.  It goes without saying that I often stumble into blogs that I really enjoy reading. If you have the time you should follow the link below.


This site is loaded with great advice on improvisation as well as general musicianship. The authors seem to know their stuff and share it in an entertaining writing style which keeps you interested and informs you. My news reader keeps me constantly up to date with their postings.

Why share this site over others? Easy my 4 favorite criteria:

  1. Unique/Rare Subject Matter
  2. Top quality writing
  3. Variety
  4. Regular Submissions

I will admit it I am a regular YouTube user. I use YouTube to find favorite artists, new music to listen to, and of course that rare interview. As a lover of saxophone ensembles I found YouTube to be awash with great musical reference material.

My criteria for a great musical YouTube channel:

  1. Unique/Rare Subject Matter
  2. Top quality sound/videos
  3. Variety
  4. Regular Submissions

Here are my two choices for YouTube channels to be followed:


I bought this piece on the recommendation of a friend. I had expressed my discontent with the projection I was getting from my modern hard rubber Otto Link. I’ve been a baritone link player for the last 10 years and hadn’t needed more projection until I began playing venues without enough mic inputs for my wired microphone.
First Impressions: The mouthpiece is slightly shorter than a HR link. Just about 1/4″ shorter at the shank. The table lengths seem to be the same. The rubber feels great and has a handsome gold inlaid engraving. The table seems flat and has a slight denim pattern.
Reed friendliness: Reeds used in play test (Rico Orange Box 3, Hemke 2.5, Fibracell Medium, LaVoz Medium Hard, Legere 2 1/4) It is friendly to the reeds at my disposal but prefers a reed slightly softer due to the larger tip opening. The legere is wider than the mouthpiece so placement is tricky with the Rovner Dark Tenor Ligature I use.
Response: The reed I settled in on was the Fibracell and the response was was quick at all volume levels. In fact i discovered that my horn had a ever so slight leak at the octave vent when I found articulating a low B difficult. Quick repair and the mouthpiece speaks well throughout the range. There is slight resistance to it but not too much so that you have something to push against.
Tonal/Dynamic Flexibility: The piece has a very focused and centered tone. Easily modified with reed choice and embouchure. With the fibracell the tone is edgy and projects whereas with the cane reeds (rico, lavoz, hemke) the sound is woodier and warmer. This is the first mouthpiece that I have been able to subtone easily. The tone with the fibracell is similar to an Otto link but with lots more edge. It’s not as much edge as you’d find with a Berg but it really speaks. It reminds me of the edge you can get with a V5 but with more tonal flexibility. YMMV
Other: I will be trying it with a few different ligatures to really help fine tune this piece. I will also be moving to some softer Fibracells as well. This mouthpiece has an interesting baffle, walls, and chamber shape.  The walls squeeze in towards the center of the piece, focusing to a tight medium to small chamber.
Intonation: This piece is best on a modern horn the chamber is medium/small and would be tough to keep intune on a vintage horn.
Take Away: This piece offers the projection of a squeeze chamber and the tonal depth of a medium baffle. I would recommend trying this piece before you pop for a hard rubber Berg Larsen. You might find yourself liking the tone and the wad of cash you just saved.
Please feel free to share your comments on my post or your opinion the piece being reviewed.

If you are like me and you find that nearly all gigs feature the not so optional 1/4 mile walk from parking to stage then you know how the weight of a baritone can make one arm longer than the other. I like how my Yamaha YBS-61 case protects it but it doesn’t feature wheels and is not strong enough to support the addition of casters. Trust me I’ve tried it.

My recommendation: Get a folding hand truck from the Home Depot.

This thing folds small to fit in the trunk of my tiny car and it can handle the weight of my baritone, stand, and whatever else I can attach that is less than 150lbs. The best part is that it cost under $30.

Storing mouthpieces and keeping them safe has been a bit of a trial for me. I like to keep favorite mouthpieces handy for different playing situations. I tried using a “spare” Crown Royal bag, spare socks, and a variety of original  mouthpiece boxes. These just haven’t been enough to keep them safe on the road. So in a moment of inspiration I came up with using the plastic tube and lid from an instant tea powder container and loading it with foam.

I always placed a clip off reed on mouthpiece to keep the ligature in the proper shape.



If you look clearly you can see it fits neatly in the case and is as safe as possible.