[Dixielandjazz] all white saxophonists

[Paul Kurtz Jr]

Larry and all, I think that there are some mistakes teachers and their students make which lead to ultimate lack of expression. 
First, let me address classical training which a lot of college trumpet players get. I think that because of need for technique and smoothness, as well as crisp articulation in other places, the actual expression is left out. Now, I credit my instructor at Florida State, Bryan Goff, greatly for helping me over this hump. Bryan's a classically-trained player and that's his expertise. HOWEVER, he would take me through classical exercises and make me break them down right to the 2-bar and 4-bar level as well as stressing dynamics within a bar. He believed that many employment doors would be closed to me as a trumpeter and therefore, he was bound and determined that I learn to think and play like a soloist with great expression. He felt that would help me be employed. He greatly admired Maurice Andree whose work has GREAT expression while having technical facility. 
Now, I did think that some of the older players' stuff was over-done at the time but later learned, when I began playing combo stuff, that some extreme expression changes got audience attention and moved their emotions. 
Now, there were/are indeed trumpeters who take that "cool" approach to playing jazz where they have very little expression. But, that's far over-blown as to the actual facts of the time. You listen to very early Miles Davis and you hear elements of Dizzy Gillespie and other peoples' playing that does have expression. And, the coll stuff really only lasted for about 4 years because by the time of "Kind of 
blue" and all that, Miles was putting blues expression into his stuff. This expression continued right through the 60s with Wayne Shorter and on to some of his electronic stuff. 
Now, interestingly, if you take a good listen to Miles's music, he took great delight in playing very calmly when there was turbulence around him and, on the other hand, created turbulence when there was quiet. This is expression even when not full-blown. 
And finally, with trumpet, even "cool" is an expression when used in combo with other things. Ruby Braff could play stuff where part of it almost came off "cool" and then cut loose.  That's what you want to do is provide contrast. Not many, as did Miles Davis both with "cool" and "modal", could dive in so deeply and keep hammering the same style over and over and over. 
Paul Kurtz Jacksonville, FL