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DJay is the newest and best software to use on current Macs to vary pitch and tempo of MP3s and Playalongs without adding audio artifacts. Even more impressive that it is free (for now). A word to the wise...............

Mel Martin & Bebop and Beyond MySpace page Mel Martin Newsletters Dec.,06, Jan.,07, Feb.,07, March-April '07, May, '

Mel Martin's Tips

Articulation Reed Break-in Mouthpiece Playing Position Vibrato New Article - The Art of Tone Part1

Private Lessons 

My Background and Teaching Philosophy

I have had a longstanding commitment to education. I believe that part of a musician's function is to pass along their standards, knowledge and tradition to others. Teaching allows the musician to continue their own learning process. I have taught privately for many years and continue to do so. I have also taught in colleges and have done numerous clinics and Jazz Workshops throughout the United States. I have honed my private teaching methods to two separate but parallel areas. I emphasize development of tonal and technical studies while simultaneously emphasizing application of these techniques to musical situations. My belief is you cannot have one without the other. My educational background includes thorough musical training at Sacramento High School with bandmaster Aubrey Penman, private studies with saxophonist Bud Harphum of Sacramento and a few profound lessons with Lee Konitz. I attended San Francisco State University where I studied flute with Herb Benkman and Paul Renzi and composition with Albert Socco. The rest of my jazz studies took place on the streets of San Francisco during the early 'sixties.

Some Recommendations for Beginning Students
If you are a beginning saxophone student, I would like to recommend the three texts that I use in my private teaching studies. They are:

1.THE UNIVERSAL METHOD FOR SAXOPHONE by Paul Deville, published by Carl Fischer Music, Inc. - this is by far the most comprehensive method for saxophone ever written (Copyright 1908!). It includes exercises from A. Mayeur, H. Klose and others. It also includes dynamic and articulation and register building studies as well as unlocking all of the mysteries for correct alternate fingerings for saxophone.

2.THE ART OF SAXOPHONE by Larry Teal, published by Summy-Birchard Company - it is the best book of Saxology I have seen. It includes all of the tips and practical guides which takes most saxophonists years to collect in a single publication. Last but not least is

3.TOP TONES FOR THE SAXOPHONE by Sigurd M. Rascher, also published by Carl Fischer Music, Inc. - ostensibly written to give the saxophonist the ability to play the altissimo register, it contains some the best information and exercises on sound production and overtones. The altissimo fingerings and exercises are not given until the END of the book.

Although there are many other fine books and methods on the saxophone, these three are readily available at most music stores and will give the beginning student all of the basics needed to become a thoroughly schooled saxophonist. Of course, these studies should be undertaken with the assistance of a qualified teacher.

An excellent recent publication is Saxophone & Flute Lessons With the Greats - Bruce Mishkit's fine tome includes a demonstration CD and interviews with the following artists ___________________

Joe Lovano - On Practicing--"Throughout your musical life, your practice routine has to change. A lot of guys practice the same way today as they did ten or fifteen years ago---as a result their playing has never developed past a certain point."

Dave Liebman - On Improvisation--"When I was younger, what bothered me was that I couldn't play like Coltrane, that I couldn't play like my idols. What I realized, of course, is that you can't play like someone else. The message is not "Play like me," the message is "Do like me."

Hubert Laws - On Learning From The Masters--"Music is a language, and like any other language, people speak with different accents. An accent is not something you pick up from a book; it's an aural concept. When you listen to someone improvise, the notes that are played are only half the story."

Lenny Pickett - On The Altissimo Register--"Mastering the altissimo register requires both extensive practice and a firm knowledge of the basics--the ability to change the speed and force of the air stream must be accomplished--biting on the reed won't do it."

Paquito D'Rivera - On Working On Tunes--"In general, I like to figure things out at the piano. I remember something Miles Davis once said. A young musician came up to Miles and asked him for tips on becoming a better trumpet player. Miles looked at him and told him to buy a piano."

Ernie Watts - On Earning A Living--"The bottom line always comes down to what you believe. Starving musicians are the ones who believe musicians starve--they believe life is hard--that jazz musicians have to scuffle. And as long as they do, they will."

JAZZ IMPROV - A great publication featuring in depth interviews, analysis, transcriptions and more. I am currently contributing new articles and CD reviews.

Private Lesson
Among the first things I talk to students about is tone production and articulation. Usually, these are considered separate studies but I deem them completely interconnected. Any study of any type of saxophone techniques are, in reality, studies in moving sound through the instrument. Therefore ALL exercises are 'long tone' exercises. In other words, even articulation exercises should utilize the same physical capabilities as do long tones. The first five pages of Top Tones For Saxophone are devoted entirely to basic tone production and should be studied slowly and methodically. An attack is defined by Larry Teal as preparation and release. Air is inhaled, the embochure already formed and then the tongue is simply released. Sounds easy enough but trying this on a low Bb can be disastrous for many. I recommend using 'D' syllables for saxophone articulations (clarinet as well) and 'T' syllables for flute. DA is for accenting, DIT for staccato and DO for legato. I have included three exercises utilizing these basic concepts. These were published in The Saxophone Journal, Volume 19, Number 6 - May/June 1995 along with my Masterclass CD and is available directly from me. Go to my Sheet Music Page and download the GIF copies of the exercises as well as sheet music of compositions by Benny Carter, Dizzy Gillespie and Mel Martin as recorded by me and Bebop and Beyond.

Quotes from former students:

"By the way, I know you recall those exercises that I shared with you and some of the books I referenced years ago all came from Mel. I recall discussing how to do them. A rigid regimen of that simple-yet-complicated stuff is what helps my physical chops, intonation and control.

"My tuba stuff came from Don Butterfield and Sam Pilafian, both of the Arnold Jacobs school, but the sax stuff was from Mel alone. No earlier teachers impacted me like Mel's influence. Although an amateur, what Mel gave me made it possible for me to hold down the FSJ chair and be a halfway decent amateur. I firmly believe my earlier tuba playing and Sam lessons helped my bari sound, it is all in the breathing, a la Jake. But 2 hours a day, 365, in the practice room with my binder from Mel was terrific stuff and changed my ability to execute on bari in FSJ." - Fred Urrutia 2004

Yates credits another mentor and music teacher, Mel Martin, with whom he studied saxophone after attending the famous Jamie Aebersold Jazz Camp, while still at Miramonte High School. "What really set Mel apart as a teacher was his willingness to be honest," Yates explains. "He always told me about my weaknesses, pushing me to play better, having me learn difficult improvisations. This was important because at that time, I was winning awards and praise from many. I needed to be challenged and kept humble in my learning process in spite of my success." - Doug Yates 2007

(Click for video)  Dizzy Gillespie, Jeff Chambers and Mel Martin Video 2 Video 3 Video 4 Headline	(Click for video) Benny Carter, Jeff Chambers and Mel Martin Video 2 Video 3

"That's what I said when I first started talking, that's my first conception, man, that's the way I thought it should go, and I still do. I mean music can stand much improvment. Most likely in another 25, or maybe 50 years some youngster will come along and take the style and really do something with it, you know, but I mean ever since I've ever heard music I've thought it should be very clean, very precise - as clean as possible anyway - you know, and more or less to the people, you know, something they could understand, something that was beautiful, you know."

"I put quite a bit of study into the horn, that's true. In fact the neighbors threatened to ask my mother to move once when we were living out West. She said I was driving them crazy with the horn. I used to put in at least 11 to 15 hours a day."

"There's definitely stories and stories and stories that can be told in the musical idiom, you know."
Charlie Parker from his interview with Paul Desmond

These words need to be read with extreme care and taken very seriously for within them lie the wisdom of three of the greatest masters of jazz.

Jam Session Etiquette

Players who are new to the scene would do well to visit a few times without their axes, and check out the scene.  Get a feel for the type of tunes played, and how other sitters-in are treated. 

It doesn't hurt to buy the leader a drink, and make some small talk but watch how quickly a beer drinker can acquire a taste for Courvoisier when you do !!  When you do get the nod, you should be aware of the "house rules". 

You may get to choose your tune, but be prepared to have it chosen for you, and not necessarily in the key you are used to.   If you are a beginner, don't overstay your welcome.  If you are invited back for a second tune, that's a good sign.  If you are not, don't leave in a huff, but promise yourself to woodshed more starting the following day. 

In general, singers tend to get "no respect" at jam sessions unless they are well known.  Don't take it personally, but if you do get selected, try to pick something unusual. 

Tunes to avoid for singers:

1. Stormy Monday Blues

2. Misty

3. All of Me

4. Over the Rainbow

5. Lover Man (or just about any Billie Holliday tune, unless you REALLY, REALLY do it well.)

6. My Funny Valentine (above all!)

(Borrowed from the Phillyjazz Web Site) http://www.phillyjazz.org (Now with an updated version!)

Interviews and Articles

Stan Getz Benny Carter Steve Lacy Wayne Shorter Charles McPherson Lee Konitz 10 Step Method Benny Golson Bobby Watson Frank Foster Paul Desmond interviews Bird	Billy Pierce Joe Henderson Mel Martin (Bell) Mel Martin (SJ) Benny Powell Rufus Reid James Moody Johnny Griffin RealAudio Interviews w/ Bird, 'Trane and Sonny
Be Careful What You Ask For- I & II Bebop and Beyond (The Concept) Clinician: To Be or Not to Be Color Me Blue Hearing is Believing How Deep Is Your Ocean? It Don't Mean A Thing Jump On The Net Parts 1-4 Listening Vs. Hearing May The Vox Be With You Rhythm Man	The Zen Zone The Art of Transcription The Concept The Song Is You The Melody Lingers On The Remastering of Miles and Gil The Rites of Swing Voicings What Am I Here For? What Makes Modern Jazz Modern Transcription and Analysis of Mel Martin's Solo on Longhorn

FEATURE! REAL AUDIO INTERVIEWS

You will need RealAudio Player - a free download
Special thanks to Augie Bloom, Dean Reilly and Bobby Shew

Charlie Parker interviewed by Paul Desmond Hear Bird and Paul Desmond discuss music, saxophone and the early days when good, clean living and much poverty was the norm. Boston radio, early 1954 Text Version - 14:51 Charlie Parker Blindfold Test - Leonard Feather conducts his famous blindfold test with none other than the Bird. 45:00
John Coltrane interviewed by Augie Blume 'Trane discusses spirituality, Monk, philosophy and Sonny Rollins. 45:00 6/15/58 Baltimore, MD
Sonny Rollins interviewed by Ralph J. Gleason Sonny talks about his music and what he considers most important...rhythm. 8:25 3/6/63 San Francisco
Wayne Shorter interviewed By Mel Martin Wayne and I talk about horns, philosophy, Miles, Lester Young, Sonny Rollins and John Coltrane and composing. "Jazz, to me, is no category." July, 1996 Text Version 44:00
Lester "Prez" Young Interview A legendary interview with Lester Young done shortly before his passing. Unfortunately, he was drinking as the interview progressed. He liked to use...umm... colorful language so this one is 'R' rated. 31:00
Bud Powell InterviewRealAudio A brief interview with bop great Bud Powell where he speaks of recent compositions, Monk and some of his favorite musicians.. 5:00
Coleman Hawkins Interview A long interview where he talks of his travels and early years, the making of Body and Soul, playing jazz in New York, rock and roll, and the state of jazz. He's got a wonderful speaking voice. 45:00
Max Roach Interview with Mel Martin and Dr. Herb Wong A fascinating interview with jazz great Max Roach. We discuss the early days in New York when Max's first road gig was with Benny Carter. He was also working with Duke Ellington, Dizzy Gillespie and Charlie Parker. Max explains why bebop became music that the audience had to sit and listen to. 42:22
Eli "Lucky" Thompson Interview with Daniel Brecker A rare and important interview with one of the most underappreciated giants of jazz. Lucky speaks humbly and cogently about his times with Monk, Miles, Dizzy and Bird. He also alludes to why he quit playing. Done a few years ago, I believe he is still alive and, hopefully, well in Seattle. 46:34
Mel Martin Interview with Randy McElligott as recently broadcast on CHUO-FM in Ottowa, Canada Mel Martin discusses his early years, many influences, his role in the San Francisco jazz and rock scene, his experiences with jazz masters Benny Carter, Dizzy Gillespie, McCoy Tyner, Joe Henderson and Freddie Hubbard and lots more. 59:17
Mel Martin and Tim Armacost Interview w/ Chris Cortez about The Tenor Conclave broadcast on KCSM October 13, 2004 Mel and Tim discuss the new Tenor Conclave band, the tenor tradition, working with Joe Henderson and more. 20:20

Mel Martin and Bebop and Beyond have performed concerts and clinics at many colleges and universities including:

Stanford Jazz Workshop Berkeley Jazz Camp Yale University William Patterson College Berklee School of Music Crane School of Music University of Northern Colorado @ Greely Sonoma State University California State University, Sacramento California State University, Hayward	California State University, San Luis Obispo Santa Clara University California State University, Bakersfield California State University, Sacramento California State University, San Jose Fresno Community College Solano Community College International Association of Jazz Educators Arizona State University Lamonte School of Music - University of Denver

Booking Information

Mel Martin and Bebop and Beyond are available for clinics, master classes, residencies and perform in concert as well as featuring workshops emphasizing improvisation, rehearsals, instrumental technique, jazz styles and arranging. They are able to communicate their comprehensive knowledge and experience in the jazz idiom in an entertaining and effective way to students and audiences alike. Mel Martin brings a wealth of practical professional experience to his clinics and workshops, emphasizing musicianship and professionalism. Small group and big band arrangements are available. For corporate and private functions click here.

Mel Martin is a Yangisawa (Conn_Selmer, Inc./Leblanc Division) and Rico Reeds (D'Addario Corporation) clinician.

Contact for concert performances: The Mel Martin Quartet, The Benny Carter Cenntenial Tribute Band, Bebop and Beyond, All-Star Big Band or The Tenor Conclave Phone & Fax:(415)892-5911 P.O. Box 2758 Novato, CA 94948-2758

For clinics contact: Rory Mazella Rico Reeds (818) 394-2795 Fax:(818) 504-9207 rorym@ricoreeds.com Jeff Perry Conn-Selmer, Inc. (574) 522-1675 Fax:(574) 295-5405 jperryconn-selmer.com

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