Ben Wendel, not unlike Bob Reynolds, is a "Killer" tenor saxophonist in the vein of Michael Brecker, Ernie Watts, Shawn Wallace, Bob Berg [RIP] and Chris Potter... Bob Reynolds is so UNselfish - never allowing Ego to promote his excellent virtuosity. "Cooperative Learning" is his thing, I am convinced. The sound! Ma'aaan, that tenor sound! Any dedicated youngster who is trained by either Bob or Ben - - - Oh, boy! He'll be so lucky. Thanks for posting, Bob.
Lots of different sounds from the various equipment changes. Something tells me you're gonna have opinions... ;) Just keep in mind the microphones and direction we're playing has some effect on the result you hear. Ben knows his stuff!!
Your SBA sounds so lively! I really dig it a lot + you sound a lot more "dry" on the Mark VI (which is nice to but I like the jucyness of the SBA a lot!).
Superb demo you guys!! Can you divulge your setups? I haven't heard (no been able to play) the bottom and such clear altissimo!!#$% I usually play a soft reed - so that kills altissimo, fer shur. When I use a harder reed (3 & up) I lose the bottom end.
Two of my favorite sax players. It’s like when superhero worlds converge and you realize they’re all part of the same superhero universe: Batman + Superman! I love this - I wish more jazz musicians would collaborate on creating and educating. Awesome insights when you get experts in a room together. Thanks!
Hey Bob, this is John Swendseid you might remember me from attending the Retreat a few times. Not that my opinion matters a whole lot, but I think you sound better on the Mark VI. You certainly have a very nice SBA, hearing the quite dramatic difference between Ben's and yours I can see why you are drawn to it. The Mark VI is just the sound I personally identify you with. As soon as I hear a note, my mind relaxes and it's like "yeah... that's Bob." I feel as though the VI lets you build your own color palette to work with, while the SBA almost gives you the whole rainbow at once. Just my 10 cents, I still want to hear you play on a metal mouthpiece :) Hope you're doing awesome man!
One of my favourite episodes of the vlog just keep coming back love it! its getting to the point that i can remember when you an ben play certain phrases Haha
It's so cool to hear the difference in these two players' sounds. When Ben talks about the flat range of the Mark VI (from octave G up), that says a lot about his approach with throat settings and where his tongue is. Also he has that sweet high F key extension bump, I knew it!
I'll reiterate more than a year later, 'cause man Bob you sound amazing on this setup: MkVI + the KB neck is - like Gordon Ramsay would say - the dogs balls!!
Sounds like you've been playing the SBA a lot more lately. You're beginning to sound more like "yourself" (how I'm used to hearing you on the VI). Sounds great! This video was a real treat! Also, great job on Hindsight! Really enjoying the record! Can't wait to hear the last record with Ruslan, Janek, and Chaun!
Oh my god, Bob, I waited for this vlog like people wait for new episodes of Game of Thrones, honestly, it's ridiculous. Actually, I want to buy a Mark VI or SBA soon and just recently read about Ben getting his together with Joshua Redman. Seeing Ben on a Mark VI and your setup + the STM was cool too. I actually was searching the oldest YT videos of Ben to see how he sounds on a VI (there are some old Kneebody videos). I have some questions, maybe you have a second to answer? 1) What did you guys think about the VI after all? How does Ben like VIs actually? 2) How did you like the KB sax neck on the VI? Did it make a difference for you? I actually really liked your sound that combination a lot! 3) Could you briefly say what are your main points to look at when checking an SBA? Did you get yours alone or would you always take someone experienced with you to test some? What a great time to be a sax nerd, seeing 2 truely great players geeking around. Thanks for making this video!
You could hear very shuttle difference in Ben's tone on Bob's rubber mouthpiece but I actually laughed out loud when he played the metal one haha. They're so fucking good at saxophone!
Try A new Yanagisawa Elite Bronze TWO20. Just for fun and make sure it is direct from the factory. They have excellent quality control. The question is-do you want to adjust yourself to fit a quirky old horn, or do you want a horn that is arguably the best horn in terms of tuning , equality of timbre etc. Plus offers a blank pallet to enable one to personalise sound wise ,dynamics-all the parameters that can give personal choice . But it is a great adventure!!!
Watching this I think about the 2 horns I love to death, but kills me knowing I prefer one just that bit more. Bob, you sound great on both...but it’s the VI all day long.
That was an awesome video. It would be interesting to have a legendary sax tech weigh in on this. Could the SBA be tweaked for more evenness? Could it be a setup issue? You guys both sound phenomenal and have me running to the 'shed. Groove on!!!
What's amazing is that Ben picked up an Otto 9* and still sounds like him. Its not about the gear alone for really!. Bob, did you feel/ hear a major difference between the neck(s ) (kb )?
It's almost not about gear at all. However, his reaction was interesting. He sounds the same way, but it certainly feels different for him to produce 'his' sound. So gear doesn't produce our sound, but it rather influences how easily we can produce it.
Very interesting indeed! I am a weekend church sax player and have noticed over the years some of the same things mentioned here, but never knew how to put words to it. I have a 1960 Buffet Super Dynaction alto and it has different tonalities through the register of the horn. My early 1980's Selmer USA "Omega" tenor is more even around the horn. It would be fun to experiment like that just to see how the feel changes.
masapell Hey man, I'm trying to get into playing with my church praise band on alto. Do you play lead stuff or background? I'm looking to just play background stuff but wonder how to fit it in with the group which is mainly guitar, bass, piano, drums, synth and vocals. Any advice?
Aaron Moseley I am a supporter of the "less is more" approach. I am there to add color to the songs. So, since most of the songs (maybe all of the songs!) do not have a saxophone, I try to pick interesting parts that may or may not be covered by the band (assuming you are not doing originals). So maybe a keyboard/synth lick, or doubling a guitar lick, always keeping in mind the space of other players. Also, also tend to do vocal lines, either lead or harmony, during chorus and/or build sections. Sometimes I insert myself in the places of space between vocals, such as verses, always trying to remain aware of the "feeling" or "mood" of the song. I mostly don't do anything flashy or technical, as the songs we do usually don't warrant them, but I can, on occasion, use altissimo effectively. Last week I played for a friend of mine who is a very talented songwriter/worship pastor and we did "September" by Earth, Wind and Fire. That was a rare moment where I didn't have to guess at what I would be doing! Always remember that you are there for His purpose and to lead the congregation. If that means hanging out or grabbing an auxiliary percussion piece or quietly exiting the back of the stage, so be it! After years of doing it and being 47, I have finally found my place in the worship band :) Good luck!
Aaron Moseley - I have not really heard anything in the ones that we play. We do a lot of Hillsong, Kari Jobe, Phil Wickham, etc.. I have not run across any horn parts. More saxophone in gospel, it seems. But, I think that is what makes my job in the band unique. I get to create what isn't there. I get lots of compliments all the time, many from the older generation who grew up with the saxophone in contemporary music and the occasional kid in high school band. I am not, however, at any stellar level and no where near Bob's level. But, I must be doing something right in the "less is more" approach, as I have been asked to play with some stellar musicians before and I am a weekend warrior who didn't "get it" until much later in life. Since I grew up in the 70's and 80's, I have a great perspective on the rock/love song sax solos. David Sanborn, Michael Brecker, Pete Christlieb, Tom Scott, etc.. Just Google sax solos of the 80's and you will get where I am coming from. That is what I do in church. It's what my ear hears :)
Hi Bob! How do you creat your movies???? Camara? Microphones? Phone? Etc etc...Thanks? The best way to capture the sound and image in this type of videos (saxophonists)
Thank you for the video Bob! Illuminating video on both models. I like the Mark VI altos but tenors seem too scuzzy for my own liking. SBA sounds great, though.
So interesting, on Bobs SBA, it almost doesn’t even sound like Ben. I’m so used to the softer high end in his playing rather than the “sizzle”. I figured that was just his style and not the horn.
Maaan OMG! My favorite episode by far. At the end it gives you this will to jump from the chair and start playing something. Unfortunately, I don't know how to play, but I'm thinking in change that. About sound goes, I really liked that new neck with the SBA. Did you like it at all?
Silly question... are you a judoka? It appears you have a nage waza poster on your studio door. If so, yet another reason to like you! PS - Just listened to the Hindsight CD that Sydnee got from you at the Baked Potato... loved it! PPS - I know, #whereisyourpicture?
man, I could sit through and an hour of this geekage and it would not seem long. I have been told that every horn has a different match in mouthpiece. Perhaps the SBA has not found what its looking for. On the other had, you seem to have missed the curse of looking for the mouthpiece holy grail! Sounds like you will be going back to the VI?
Color me crazy, but the little bit that Ben played on your metal Link.....I thought he sounded great. I think we all know your setup ('piece) Bob, but what is/does Ben play on? Ben definitely sounded (and looked) winded playing your rubber Link! He's right.....in the end, it's ALL about what we're used to. Great geek vlog. ;-)
Oh man. Hearing the differences between necks is quite astounding and hearing how a modern neck can even out the tonality of a vintage horn is quite remarkable! EARS=BLOWN! :)
Well, since each Steinway piano sounds different, I knew only one piano player ( Michelangeli Benedetti, who was a famous Italian piano Player) traveling with two Steinways and choosing the one which did for his ear sound better in the reticular cancer hall. All others had to players, no matter how famous they were/are have to play on whatever piano was there. In y humble opinion I do not see the sense of this tests. Especially that depending the player all instrument are quite in tune and with his colleague much less. Also one of this players does sound. practically the same on all horns, which is not the case for the other. Yes Ben knows his stuff :-)
Ben Wendel's tone was fuller and richer on Bob's SBA... no? Gratuitous advice for Bob's SBA setup, buy your SBA a Tone Edge EB 9, those things like each other. Babbitt have released a special edition rubber EB, you can order your tip size:9. Do what the anonymous youtube nitwit says...
I wonder if ‘Trane, Hawk, Getz, etc, ever did something like this. Kind of like watching Golden Gloves candidates debate the merits of being a world champion. Fails to take account of the far superior materials used on older horns.
Bob's SBA seems more vulnerable or emotional...the Mark 6 is more business more in tune, but it looses some temperament or emotion. The player is supposed to be in charege, not really the horn? Mark 6; jack of all trades. BUT sax players like to be sexy, and sometimes the chicks like to see a man's more vulnerable side... for what it's worth, my ear says Bob's SBA is a keeper.)
Hey guys, include a 1927 Conn Chu Berry, and a 1932 Selmer Super....with 1930's Otto Link pieces, THEN you'll a have real and expansive, let alone WORTHY comparison going on.
