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Jazz/Blues Saxophonist Tucker Antell Shares His Story And How He App…s Practicing (Exercise Included!) » Best. Saxophone.
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Saxophone Parts Tucker Antell is a New England native, but being raised in various states
across the US, began his career in Sarasota FL. He started honing his
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Jazz/Blues Saxophonist Tucker Antell Shares His Story And How He App…s Practicing (Exercise Included!) » Best. Saxophone. Website. Ever. 3/16/19, 8)27 AM
Saxophone Technique musical craft by sitting in with retirees who took him under their wing
and taught him the ropes of Jazz. Tucker explained:“Though I didn’t
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realize it at the time, the opportunity to play those classic standards
Transcriptions
every week with veteran musicians was one of the most formative and
Video valuable experiences of my musical education.” As Tucker progressed
with his musical education, he began studying with such jazz titans as
Jerry Bergonzi and George Garzone. In 2009, Tucker graduated from
the Jazz Studies program at the New England Conservatory of Music
and to this day has shared the stage with such musicians as: Larry
Goldings, Anthony Wilson, Hal Crook, Chris Cheek, Antonio Sanchez,
John Lockwood, Bob Gulloti, Bruce Gertz, and Bob Moses just to name
a few. In addition to being an active sideman with various groups in the
Boston area, his latest project, The Tucker Antell Band, features Tucker’s
hard-hitting blues-infused compositions which draw from his love of
classic Blues music.While Tucker keeps a busy performance schedule,
he also enjoys teaching saxophone and improvisation throughout
various private institutions in the Boston area and regularly conducts
music clinics/masterclasses at local colleges and public school
systems. If you would like to get in contact with Tucker, please reach
out to him on his website (Contact Tucker) or follow him on Instagram
(@TuckerAntell).
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Interview
ZS: Why did you choose the saxophone?
TA: It’s actually kind of an uneventful story, but I laugh to think that
my whole life has been shaped by it. I was 10 and just wanted to take
up an instrument. I really enjoyed the recorder in my 3rd grade class so
I figured out that other woodwinds are similar. I went into a music store
with my mom and pointed at the sax hanging on the wall, and that
was it—I was hooked for life.
ZS: As you moved and lived in various states, who do you recall
helped you grow as a musician and why?
TA: First off, Josh Langston was my first ever teacher. He is a classical
saxophonist and taught me the fundamentals: scales, embouchure,
articulation, vibrato etc… That was a very good start and I am really
glad that I had someone to show me proper technique from the get go
as it helped me avoid many bad habits later (I haven’t seen him in
probably over 15 years, I wonder what he’s up to!). Then came
trombonist and educator Greg Nielson who first gave me chord scales,
play-a-longs, recordings and invited me to sit in with his group. He had
a home studio and I got my first recording experience — including with
then 92 year-old Al Galladoro. Sarasota Florida was a great place to
learn Jazz and I was lucky I had Greg as my middle school band
teacher, as he helped me in so many ways! I even remember we would
drive together to a big band rehearsal where I got to play with other
local pros reading down charts (Man I was lucky!). There’s lots of great
people that I’ve had the pleasure to know and learn from over the
years — I guess the thing I am grateful for, is that they took the time to
show me how it’s done, not go easy on me, but also give me a chance
to try things out and just go for it. I remember my first couple jazz
albums were a Michael Brecker and a Joshua Redman album — Two
Blocks From The Edge & Beyond respectively. They were given to me
by the worship pastors in the church band I volunteered in at 13 — even
then it was people like that who would give me nuggets or point me in
a direction (in this case literally gift me a couple CD’s) that made a huge
impact on my life.
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ZS: What material do you find yourself practicing the most these
days? Jimmy Halperin on Can the ReedGeek “Klangbogen”
Bore & Reed Stabilizer Instantly Improve Your Sound?
TA: I confess: I’m a bit obsessed with patterns and shapes. Though I Michael D Collins on Debunking the Biggest Myth About
also feel I’ve made the most progress from day to day or week to week Playing with an “Open Throat”
when I’ve spent time transcribing and playing along with solos (and Doron Orenstein on Susan Brecker On the Legacy of
this usually shows up in my playing more immediately and has a more Her Husband, Michael and the Saxophone Competition
in His Name
lasting impact) I spend more of my actual practice time exploring
every avenue I can find within a given concept. The best of both Louis Gerrits on Susan Brecker On the Legacy of Her
Husband, Michael and the Saxophone Competition in
worlds is when I sort of “mine” material from a solo I’m learning. I
His Name
sometimes view transcribing as just that: sifting through the musical
Zach Sollitto on NAMM 2019 Saxophone Gear Roundup
material to find gold nuggets that I can take with me. When I find one I
like, I take it and explore it in every key, but also move it around in
various ways: half steps, whole steps, minor thirds, major thirds,
around the circle of fourths etc… I like to work on things ascending,
descending, back-wards, forwards, alternating and rearranging the
directions…
For instance, I recently practiced a 4-note cell like D-C-G-F all

descending (Reference PDF Below).
1.) I first decided how to categorize that in my head for purposes of

quick-recall, but also so I can quickly move it around however I like
without thinking too hard. It’s almost as if, for the file in my head
containing those four notes, I like to title the file, or put a tab on it so I
can quickly access it later. In this case, I thought of that one as F — so
the relative numbers would be 6-5-2-1. Now I can practice it
chromatically up and down by just thinking of key of F, key of E, key of
Eb and each time I’m playing four notes for one thought.
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2.) Next I will change the order and play 1-2-5-6 ascending
chromatically and descending chromatically. Then I will alternate them
(my personal favorite for many patterns and shapes) so for instance:
While ascending chromatically I would play F-G-C-D (1-2-5-6) then
D#-C#-G#-F# (6-5-2-1) then G-A-D-E (1-2-5-6) and then F-Eb-Bb-
Ab (6-5-2-1). I will do this up and down before applying all of this to
whole step movement, minor third, major third etc…So for instance an
alternating direction ascending major thirds pattern using this shape
starting on F would look like: F-G-C-D (1-2-5-6 in F), F#-E-B-A (6-5-2-
1 in A), Db-Eb-Ab-Bb (1-2-5-6 in Db), D-C-G-F (6-5-2-1 in F). BUT, still
there is more be to explored! In each of these the shape is either
completely ascended or descended: 1-2-5-6 or 6-5-2-1. I like to take
something like this and change the order of the notes to experiment
with the shape, often in a case like this by taking the whole step groups
and reversing their order i.e. 2-1-5-6, 1-2-6-5 or 2-1-6-5. Now there
are three more derived shapes that can ALL be taken through each of
the exercises above. The possibilities are many (my math says 96
sequences not including mixing and matching the different shapes or
extending beyond fourth movement), and even in writing this I’m
realizing it’s a lot more confusing to think about without playing it.
3.)Finally, thinking about each cell of 4 notes as one thought helps

consolidate the mental energy and before long I can think big picture
and play long stretches of notes while thinking MUCH less than it takes
to write it all out. Something I find helpful while trying all these
variations out is not only to think of the big picture movement of the
cells — in other words: Ok, so with a minor third movement ascending,
my keys to hit are going to be F, Ab, B, then D. You should also take
note of the connection between the cells — What I refer to with my
students as the “train car method”. Say you want to move the original
shape up in major thirds ascending, F-G-C-D will connect to A-B-E-F#
with a descending perfect 4th from the D of the F cell, to the A of the
A cell. Thinking this way doesn’t require you to think of the big picture
augmented triad in your head, but rather to play a cell, then jump
down a fourth and start again. Sometimes this method is much easier
because there’s a simple half-step slide to make the connection. Other
times this makes it more complicated. I find that employing both
simultaneously to varying degrees is my favorite method. Almost like
working a math problem backwards to double check your work,
knowing that there should be a fourth-interval connection will
reinforce that you did make the correct jump from the F cell to the A
cell.
I find when doing this to any cell of varying length and shape, that
certain orderings, whether ascending vs descending or moving in
either half steps whole, minor thirds etc… that certain ones really stand
out as laying well on the horn or having a particularly intriguing sound
or just strike me a certain way. These are the ones that I usually write
down and try to use later on a tune or try and incorporate into my
playing. Conversely, some movements and directions don’t sound
great or are awkward OR the connections between them have unison
notes which can either make it sound either super hip or super choppy.
So, although I will try and run through every possibility for my own
challenge, mental exercise, and thorough sound-searching, I definitely
will discard a lot of it for practical purposes and select my favorites for
playing. You may find that you have changed the original idea so much
that you have certainly made it your own!
You can get a shape or idea from ANYTHING. I have taken pieces of
melodies for instance, the opening line of McCoy Tyner’s Passion
Dance works great, but also any simple 4 and 5 note tetra and
pentatonic scales like the one above. Currently, I was just taking the
chromatically slippery punchline to Take The A Train(See PDF) and
moving that around all over the place for some hilariously-satisfying
results! Though I may never use it, always challenging myself and
thinking critically in the practice room yields the most satisfaction and
enjoyment on the bandstand.
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PDF Exercise
Shapes & Patterns
ZS: What’s the single best piece of advice you’ve been given over the
course of your playing career?
TA: A wonderful lady and mentor who hosted a weekly jam session in
Florida named Ruby Vinson, who sadly passed away almost 10 years
ago now, once told me that when it (in this case music or a particular
gig or band) stops being fun, walk away. Ruby was always very joyful in
her music-making and I took her motto to mean never let anyone or
anything steal your joy in making music — if it does then it’s not worth
it.
ZS: What Current Project are you working on?
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TA: My first album as a leader is currently being mixed and so all my

efforts went into that project and I’m very excited about the release
TBD. It features Jake Sherman on the B3 Organ, Lee Fish on drums,
Carl Eisman on guitar and Jason Palmer on a few tracks also. All
originals of mine I’m pretty happy with how it all went and I hope to
book some CD release shows in the winter/spring. Very blues-infused;
there’s a few straight shuffles on it and I just love the classic
B3/Tenor/Guitar combo!
ZS: What’s your current Setup?
TA:
Saxophones:
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Soprano: Selmer Series 1
Alto: Conn New Wonder II 238xxx

Tenor: Conn 10M Naked Lady 263xxx
Mouthpieces:
Soprano: Soprano Planet “Open Sky” Link (Tip Opening?)

Alto: Johannes Gerber NY Bros (Tip Opening?)
Tenor: Johannes Gerber Octa Supreme 9* or a BD Hollywood

Dukoff 6* refaced by Ted Klum
Reeds:
Soprano: La Voz med

Alto: La Voz med
Tenor: La Voz med
Ligature:
Soprano: Whatever will fit haha
Alto: Whatever will fit haha

Tenor: Whatever will fit haha, but currently using a Flexitone
ligature
Cases:
The Hiscox cases really fit the Conn’s like a glove!
Neckstrap:
Just Joe’s Sax Gel Strap — awesome neck strap
Website:
https://www.tuckerantell.com/about.html
MGH By Tucker Antell Video:
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MGH
Tucker Antell Lesson Video
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Zach Sollitto
Hailing from San Francisco California, Zachary Sollitto is a man of
many skills and many passions. His love for playing jazz is
paralleled only by his passion for the world of saxophones and
saxophone equipment. Perhaps more than just about any
saxophonist you're likely to meet, he maintains an up-to-the-moment awareness of
the latest and greatest products hitting the market for saxophonists. Whether it's
saxophones, mouthpieces, neck straps, or just about anything else, Zach is the man you
want to talk to. Manufacturers looking to have their saxophone products reviewed can
reach him by email at zach@bestsaxophonewebsiteever.com or by phone at 954-292-
2951.
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eric king
DECEMBER 29, 2017 @ 3:43 PM
love it
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Jazz/Blues Saxophonist Tucker Antell Shares His Story And How He App…s Practicing (Exercise Included!) » Best. Saxophone.

Website. Ever. 3/16/19, 8)27 AM

HOME ABOUT ADVERTISE WITH US WRITE FOR THE SITE CONTACT

TIPS AND TECHNIQUES GREAT PLAYERS PRODUCT REVIEWS RSS

Jazz/Blues Saxophonist Tucker Antell

Share this Article

Live Performance Sign me up! »

For instance, I recently practiced a 4-note cell like D-C-G-F all

1.) I first decided how to categorize that in my head for purposes of

3.)Finally, thinking about each cell of 4 notes as one thought helps

ZS: What Current Project are you working on?

TA: My first album as a leader is currently being mixed and so all my

ZS: What’s your current Setup?

Soprano: Selmer Series 1

Alto: Conn New Wonder II 238xxx

Soprano: Soprano Planet “Open Sky” Link (Tip Opening?)

Tenor: Johannes Gerber Octa Supreme 9* or a BD Hollywood

Soprano: La Voz med

Soprano: Whatever will fit haha

Alto: Whatever will fit haha

The Hiscox cases really fit the Conn’s like a glove!

Just Joe’s Sax Gel Strap — awesome neck strap

MGH By Tucker Antell Video:

Tucker Antell Lesson Video

You might also like...

Technique, Tone, Music Sax Virtuoso Rick Keller A Chat with

IF YOU LIKED THIS ARTICLE, YOU'LL LOVE

Of course, your email address is 100% private, and you'll

Enter your email address

« Touring Tips and Tales From My My Day with Michael Brecker – »

© Best. Saxophone. Website. Ever. 2019

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