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During the 1920s Buescher also made small numbers of tipped-bell soprano, straight alto, and straight tenor saxophones. Buescher stayed true to Adolphe Sax's concept for saxophone sound into the early 1930s, gaining the favor of classical saxophonist Sigurd Rascher and those influenced by him. Buescher adapted its sound concept to the bigger ...
Jazz saxophonists are musicians who play various types of saxophones (alto saxophone, tenor saxophone, baritone saxophone etc.) in jazz and its associated subgenres. The techniques and instrumentation of this type of performance have evolved over the 20th century, influenced by both movements of musicians that became the subgenres and by particularly influential sax players who helped reshape ...
The baritone sax is an important part of military bands and is common in musical theater. Horn sections with baritone saxophone were used on many rock-and-roll hits of the 1950s, several Motown hits of the 1960s featured baritone saxophonist Mike Terry, and the instrument continued to be used in horn sections in American rock and pop music. It ...
The Zephyr model saxophone was discontinued during the early 1970s, followed by the Super 20 model in 1975. In 1972 Seeburg-King acquired the Benge company, which produced a distinctive line of trumpets in Los Angeles, CA, shortly thereafter moving production to Anaheim. King was divested of its Anaheim operation in 1983, then used the Benge ...
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A category for jazz saxophonists who have baritone saxophone as their primary or sole instrument. Subcategories. This category has only the following subcategory. ...
The Los Angeles Free Music Society (LAFMS) is a loose underground collective of experimental avant-rock artist-musicians formed in 1973. Described as a "lightning rod for art-damage, weird-music lovers everywhere," LAFMS was formed by Chip Chapman, Joe Potts, Rick Potts and Tom Recchion.
Andrew Alexander "Mike" Terry (July 18, 1940 – October 30, 2008) was an American saxophonist, songwriter, arranger, producer and musical director. His baritone sax solos feature on the breakthrough hits of Martha and the Vandellas ("Heat Wave", 1963), and The Supremes ("Where Did Our Love Go", 1964). [1]