Alto mouthpiece comparison - Selmer Soloist vs Otto Link 7*

I've seen these two mouthpieces compared before, nevertheless here are my two cents worth. The two mouthpieces in question are a vintage Selmer soloist C** and an Otto Link Tone edge 7*.

Firstly both are really nice pieces. I like them both but they are very different.

The Selmer has a very rounded, slightly closed sound, yet very mellow with a kind of warm, breathy fuzz around the edges. The sound is quite spread and if there are any criticisms it's that the sound is not quite as focused as I would like. It lacks a bit of definition and you have to push it a bit for that. It helps to use harder reeds. Softer reeds get overwhelmed and the sound starts to deteriorate. 

The Otto link has alot more definition and edge to it than the Selmer. It has a more focused sound but is therefore less warm than the other. I would say for a kind of "West Coast" feel the Selmer is nicer, as has a bit more character to it. The Otto link probably suits a more modern sound, yet it still has plenty of warmth and never gets too harsh. The link has a hard time with harder reeds. They get tough to blow so half a strength down on the Selmer is needed.

Hopefully I'll have time and post a short demo.

Getting the most out of charts

How many of us take the time to sit with a chart or score and actually read it properly and slowly without the instrument? I know it's not something I've done a great deal but when I do, even for 10 minutes, the benefits are numerous. The mind is more alert, those difficult areas seem easier, you can visualize the chords in your mind, and you start to see phrases you might play on your instrument.

Try this experiment. Take a standard such as All the things you are. First thing in the day, play it without any warm up with a backing track. Maybe record yourself to see how you are doing. The next day, instead of playing immediately, spend 15 minutes quietly with the score. Go through each chord. Visualize each arpeggio. Where are the difficult areas where you suddenly slow down? Go back to that section. Spend some time on it. What are the basic guide tones? How could you approach a line given those notes.

I think we can already see without too much trouble that if you were to do this the results would be alot better once you tackled the piece.

So why not do this more often? Maybe before a gig perhaps? Maybe as a warm down after you have finished for the day? Many possibilities are there. If you are going to use the chart for a piece then why not use it properly!

Inspiration - can it be worked on?

Here's a thought that has been on my mind, something that in future I might expand on. The idea of inspiration vs the idea of hard work.

We all know to be able to perform at the highest level, the hours dedicated to honing our art have to be there. Without them we are simply unable to express what we would like, even if the ideas come. Technique should be just where we need it, in the right place at the right time.

What about inspiration? Can this be worked on? I think the answer is yes. Chess grand-master and legend Garry Kasparov in his new book Deep Thinking, says that in order for anyone to perform at their best, absolutely everything must be in place. That must include not just what we can control such as work and preparation, but the things that we can't foresee such as, innate abilities and talents that are simply part of us and can be opened to given the right circumstances. Those moments of 'genius' that we can't explain must be there too.

We have all been there. What happens when we play at are best. Can we explain it? Usually not. Mostly what happens in these cases is that we are in a zone way beyond something that can be calculated in terms of hours. We no longer think, and the endless calculations needed to improvise at the highest level no longer apply.

So can this be cultivated? The ability to be open to those special moments? Probably the easiest way to see it is when things don't go well. What has usually gone wrong? Maybe we are not able to concentrate, maybe we are unwell, are tired, distracted, thinking of other things, trying too hard. The list is endless.

So perhaps the answer to working on the inspiration part of music is to make sure as much as possible that everything is fitting into place when we need it. Have we slept well, exercised, eaten the right things, spent time away from distractions, warmed up before the show? Maybe these simple things can go a long way to help us reach the places we would like to.

Weekly Jazz Lick - No 5

I'm getting a bit more professional now. I used the wonderful Noteflight online to make this.

I love playing ballads and here is a little lick one can use for the ending of a phrase, either in a solo or embellishing the melody.

This short phrase uses the #9 b9 and #11 resolving to the V of the major chord.