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Contrabass saxophone

The contrabass saxophone is the second-lowest pitched instrument in the saxophone family, a large brass woodwind with a single reed, pitched in E♭ and sounding one octave below the baritone saxophone, with a typical concert range from C1 to A3.^[1] Standing approximately 1.8 meters (6 feet) tall and weighing approximately 20 kilograms (44 lb), it produces a deep, resonant timbre ideal for providing foundational bass lines in ensembles.^[2]^[1] Invented by Belgian instrument maker Adolphe Sax in the mid-1840s as part of his original family of saxophones, the contrabass was first publicly documented at the 1849 Paris Industrial Exposition, where it was praised for its noble and magnificent character unmatched by other instruments.^[2]^[3] Early production occurred in Sax's Paris workshop, but commercial manufacturing expanded in the early 20th century through firms like Evette & Schaeffer, which produced about 25 instruments between 1900 and 1930, of which roughly 10 survive today.^[2] Stencil versions were also made by American companies such as Buescher for brands like Carl Fischer around 1909–1930, though overall production remained limited due to the instrument's size and complexity.^[3] In the modern era, the contrabass saxophone is handcrafted by specialized makers like Benedikt Eppelsheim in Germany, whose models feature innovations such as a wide bore for enhanced tone volume, three automatic octave keys, and a height of 177 cm for improved playability while retaining traditional saxophone fingering.^[1] These contemporary versions use a bass saxophone mouthpiece and emphasize precise intonation through carefully shaped bore tapers.^[1] Historically employed in marching bands, concert bands, and early jazz orchestras—such as Patrick Gilmore's ensemble in 1892 and Philadelphia's Charles Houston Novelty Jazz Orchestra in the 1920s—the contrabass saxophone provides powerful low-end support but fell out of widespread use by the mid-20th century due to its logistical challenges.^[2]^[3] Today, it appears in niche saxophone quartets, contemporary ensembles, and experimental jazz, with notable performers including collector and player Paul Cohen, who owns a rare 1920s Evette & Schaeffer model, and multi-instrumentalist Scott Robinson, known for recordings featuring the instrument's full range.^[2]^[4]

Overview and Design

Physical characteristics

The contrabass saxophone is an imposing instrument, typically standing about 1.8 to 2 meters (5 feet 11 inches to 6 feet 7 inches) tall when fully assembled, depending on the model, with overall dimensions including a width of approximately 79 cm (31 inches) and depth of 41 cm (16 inches).^[5]^[1] Its design incorporates roughly 5 meters (16 feet) of brass tubing, folded into multiple U-shaped bends to achieve this upright configuration while maintaining the extended length necessary for its low pitch. This coiled structure allows the instrument to be manageable in height despite the substantial tubing volume, distinguishing it from straighter low brass instruments like the tuba. Historical models tend to be taller (~2 m), while modern designs are shorter (~1.8 m) for improved playability. The body features a single-piece bell that flares outward to a diameter of around 43 cm (17 inches), providing significant projection for its deep tones. The mouthpiece is a bass saxophone model with a larger chamber and reed to accommodate the airflow demands of the instrument's bore.^[1] Visually, it resembles an enlarged version of the bass saxophone, with elongated proportions and a robust, conical body that emphasizes its role as the largest standard member of the saxophone family. Weighing between 18 and 20 kg (40 to 44 pounds), the contrabass saxophone is cumbersome for handheld performance, necessitating ergonomic supports such as reinforced neck strap attachments and dedicated floor stands or endpins with spikes to bear the weight during play. Padded key rests and adjustable mechanisms further aid player comfort, reducing strain on the arms and back, while custom cases are essential for transport due to the instrument's bulk. These features make it practical primarily for stationary or seated performance settings.

Tuning and range

The contrabass saxophone is pitched in E♭, serving as a transposing instrument that sounds one octave below the baritone saxophone. A written middle C (C4) thus produces a sounding E♭3, requiring performers to account for this major sixth downward transposition in relation to concert pitch.^[6] Its standard range extends approximately four and a half octaves (including altissimo), from written low B♭1 (sounding B♭0 at ~29 Hz) or low A on extended models (sounding C1 at ~33 Hz), to a high F6 (sounding A♭5). Modern instruments often reach up to F♯6 in written notation for enhanced upper-register access.^[1] The key system builds on the conventional saxophone fingering, with extensions including a dedicated low B♭ key and additional mechanisms to facilitate the instrument's expanded low range while maintaining ergonomic playability.^[7] The instrument's tonal qualities feature a deep, resonant timbre characterized by powerful low-end projection that can rattle structures with its subsonic fundamentals. In upper registers, it achieves subtle dynamic control, allowing for expressive nuances despite its size. Its large physical dimensions contribute to efficient low-frequency production, enhancing its role in ensembles.^[2] Transposition effects necessitate specific score adjustments for concert pitch integration; for instance, in saxophone choirs, the contrabass provides a foundational bass line that aligns with E♭- and B♭-pitched saxophones, creating a cohesive harmonic texture across the family.^[8]^[7]

History

Invention and early adoption

The contrabass saxophone was invented by Belgian instrument maker Adolphe Sax as part of his comprehensive family of saxophones, designed to bridge the tonal qualities of woodwind and brass instruments for use in orchestras and bands. Sax patented the instrument in 1846, alongside 13 other saxophones ranging from sopranino to contrabass in both B-flat and E-flat keys, envisioning the contrabass as the lowest voice to provide deep bass support.^[9]^[10] The first documented public display of a contrabass saxophone occurred at the 1849 Paris Industrial Exposition, where Sax showcased prototypes of his full saxophone family to demonstrate their potential in ensemble settings. These early models featured an upright design with multiple bends in the conical tubing to manage the instrument's substantial length—approximately 6 feet or more—allowing for practical playability while maintaining the acoustic properties of a single-reed woodwind. Initial production was limited to Sax's Paris workshop, with the contrabass proving challenging to manufacture due to its size and mechanical complexity.^[2]^[5] Adoption began in French military bands during the mid-19th century, where the contrabass saxophone enhanced low-register harmony and projection in outdoor performances, filling a gap between brass bass instruments and woodwinds before the widespread use of amplification. By the 1860s, it had gained traction in European ensembles for its ability to deliver powerful, resonant bass lines in marches and concert pieces. In the United States, the instrument arrived later, with bandleader Patrick S. Gilmore incorporating a contrabass saxophone into his renowned New York-based ensemble by 1892, marking one of its earliest documented uses in American music. Gilmore's band, known for massive formations and innovative instrumentation, highlighted the contrabass's novelty and utility in providing foundational support for brass-heavy arrangements during the Gilded Age.^[11]^[12] By the early 20th century, U.S. manufacturers began producing contrabass saxophones to meet demand from professional and military bands, where the instrument served as a portable alternative to bulkier bass options in marching contexts. Companies like Buescher Band Instrument Company crafted models around 1909–1930, often as "stencil" instruments sold under brands such as Carl Fischer, emphasizing durability for parade use. These instruments contributed to the contrabass's role in amplifying low-end depth in unamplified outdoor settings, enabling richer harmonic textures in ensembles like those led by John Philip Sousa, whose bands from the 1890s onward routinely featured expanded saxophone sections for dynamic bass reinforcement.^[3]

Decline and modern revival

The contrabass saxophone's prominence waned during the Great Depression of the 1930s, as economic hardships reduced band budgets and curtailed production of large, specialized instruments like the contrabass, leading to its near disappearance from public view due to scarcity, impracticality, and ergonomic challenges. Following World War II, the shift toward amplified music and smaller ensembles further marginalized the instrument, replacing its role in providing low-end support with electric amplification and string basses in jazz and popular settings.^[13] By the mid-20th century, surviving contrabass saxophones were limited to approximately 15 vintage instruments held in museums or private collections, with only occasional appearances in avant-garde jazz contexts, such as works by composer Anthony Braxton.^[14] The instrument's rarity persisted through the 1990s, often treated as a novelty rather than a practical tool, though isolated restorations, like Paul Cohen's acquisition and revival of a 1920s model in the early 1980s, hinted at potential renewed interest.^[2] A modern revival gained momentum in the 2000s, driven by increased custom production through collaborations like the LA Sax and Orsi joint venture, which introduced new models and boosted availability for ensembles.^[14] Influential saxophone groups, such as the Nuclear Whales Saxophone Orchestra, showcased the contrabass in performances and recordings from the late 1980s onward, inspiring broader adoption in niche genres and large saxophone ensembles.^[14] Post-2010 developments included variants like Benedikt Eppelsheim's Eb contrabass tubax, enhancing playability and expanding its use. Recent milestones underscore the instrument's growing legitimacy, including the 2024 world premiere of Jim Coyle's Deeper, a contrabass saxophone concerto performed by soloist Michael Duke with the Metropolitan Orchestra in Sydney.^[15] By 2025, educational adoption has accelerated, evidenced by Manhattan School of Music's 2024 saxophone studio recitals and orchestra concerts featuring contrabass performers like Alexander Howard and Ben Almazan, signaling its integration into academic curricula.^[16]^[17]

Construction

Materials and mechanisms

The contrabass saxophone's body is primarily constructed from yellow brass, an alloy composed of approximately 70% copper and 30% zinc, which provides the necessary durability and acoustic resonance for its large scale.^[18] This material is often finished with lacquer or silver plating to enhance corrosion resistance and maintain a polished appearance over time.^[18] The keys, in contrast, are typically made from nickel silver, a harder alloy that offers superior strength and resistance to wear from frequent use.^[18] The instrument features a complex key mechanism comprising over 20 keys, designed to facilitate the full chromatic range while accommodating the extended body length.^[19] Key elements include articulated mechanisms for the low B♭ note, which allow precise control in the pedal register, and side keys dedicated to trills and alternative fingerings for technical passages.^[19] Finger pads, or touches, are covered in pearl or durable plastic to ensure comfortable operation and reliable sealing against the tone holes.^[20] Protective guards, often with adjustable felt systems, safeguard the low-note keys from impacts, a critical feature given the instrument's size.^[19] Internally, the contrabass saxophone employs a conical bore that gradually widens from the neck to the large bell, enabling efficient sound projection and a rich low-end response.^[1] This design incorporates large tone holes and a precisely tapered bore to optimize intonation across its wide range.^[1] Reeds of strength 2.5 to 4 are commonly used, providing the robust vibration needed for the low register's depth and stability.^[21] Manufacturing begins with brass sheets cut and rolled into tubes, which are then shaped on mandrels, heated, and bent using hydraulic presses or dies for the neck and bows.^[18] Bells are hand-hammered to achieve their flared form, followed by soldered joints to assemble the body sections securely.^[18] In modern production, computer numerical control (CNC) machining ensures precise alignment of key posts and tone holes, enhancing overall playability.^[18] Keys are die-cast or stamped, fitted with pads of felt, cardboard, and leather, and then mounted on the body with springs for responsive action.^[18] Due to its substantial weight and size, the contrabass saxophone requires regular maintenance, including oiling of the key mechanisms to prevent sticking and ensure smooth operation.^[18] Periodic repairs for dents are common, as the instrument's mass can lead to stress on the body during transport or handling, necessitating professional attention to restore structural integrity.^[18]

Variations in design

The classic design of the contrabass saxophone consists of a three-bend upright model, featuring a gooseneck, a body bend for height management, and a bell bend, as produced by early 20th-century manufacturers during the 1910s to 1930s.^[2] A prominent modern variation is the Tubax, developed by German instrument maker Benedikt Eppelsheim in 1999 as a compact contrabass saxophone in E♭ tuning. This model incorporates a reproportioned conical bore with reduced expansion relative to tubing length and additional folds—typically four bends—to minimize overall height to approximately 1.14 meters, facilitating greater portability and playability while retaining the standard range one octave below the baritone saxophone and conventional fingering system. Eppelsheim's approach prioritizes ergonomics, with optimized key placement and reduced air volume requirements to enhance performer comfort during extended use.^[22] Alternative tunings remain rare, with occasional custom models extending beyond the standard E♭, such as low A contrabass saxophones produced by J'Elle Stainer in the 2020s. These instruments, handmade in Brazil with final assembly in the USA or Italy, feature an extended low A key in E♭ tuning, yielding a sounding range down to C1, and measure over 2.04 meters in height with a large bore for enhanced low-end projection; they include ergonomic keywork and options like engraved lacquered brass bodies for aesthetic and acoustic refinement.^[23] Contemporary innovations in saxophone design leverage digital tools for prototyping, including 3D printing and acoustic simulations, to test bore shapes, key mechanisms, and overall ergonomics before fabrication.^[24]^[25]

Repertoire

Classical works

The contrabass saxophone's entry into classical composition was gradual, with early 20th-century advocacy from pioneers like Sigurd Raschèr playing a pivotal role. Raschèr, renowned for commissioning over 300 works for the saxophone family and performing as a virtuoso in classical settings, incorporated the contrabass into ensemble performances, such as with the Raschèr Saxophone Ensemble, to demonstrate its expressive potential in serious music. His efforts helped legitimize the instrument beyond jazz, influencing its occasional use as a substitute for lower woodwinds in experimental scores during the interwar period.^[26]^[27]^[28] A landmark in dedicated repertoire arrived with Luis de Pablo's Une Couleur (1988), composed for saxophonist Daniel Kientzy as a solo concerto requiring the performer to play six saxophones successively, culminating in the contrabass for its resonant low register. This work, scored for orchestra including harp, piano, celesta, and percussion, represented the first major orchestral piece to feature the contrabass saxophone, highlighting its timbral depth in a contemporary classical context.^[29]^[30] The 21st century has expanded the instrument's classical footprint through innovative ensemble and solo writing. Alistair Hinton's Concerto for 22 Instruments (Op. 41, completed 2005), a 41-minute work for winds, prominently integrates the contrabass saxophone alongside soprano, alto, and baritone models to form an extended saxophone section, emphasizing layered textures and dynamic contrasts. Similarly, Jim Coyle's Deeper (2024), commissioned by the Metropolitan Orchestra for soloist Michael Duke, premiered on August 11, 2024, in Sydney, exploring the contrabass's bass lines in a full orchestral setting to evoke profound emotional depth.^[31]^[32]^[15] In orchestral applications, the contrabass saxophone appears in avant-garde ensembles with expanded saxophone choirs, providing foundational bass support akin to the contrabassoon. Since the early 2000s, it has gained prominence in Brazil's large church orchestras of the Christian Congregation, where manufacturers like J'Élle Stainer have produced instruments specifically for these groups, often deploying multiple contrabass models to reinforce harmonic foundations in sacred music.^[33] Composers must address significant technical demands, particularly the instrument's low register, which requires exceptional breath control and embouchure stability in sustained, slow passages to avoid intonation issues. Notation follows the saxophone family's convention: parts are written in treble clef, with the contrabass (an E♭ instrument) sounding a major 6th lower than notated, facilitating its integration into transposing wind scores.^[34]^[35]

Jazz and popular applications

In the realm of jazz, the contrabass saxophone emerged as a tool for innovation during the free jazz movement of the 1970s and 1980s, particularly through composer and multi-instrumentalist Anthony Braxton's explorations of extended techniques. Braxton frequently employed the instrument's vast range to produce multiphonics and complex timbres, expanding the sonic palette beyond conventional saxophone roles. On his 1988 album The Aggregate, recorded with the Rova Saxophone Quartet, Braxton showcased the contrabass saxophone in layered improvisations that emphasized aggregate textures and harmonic density.^[36] The instrument's integration into rock ensembles marked a departure from traditional bass roles, providing a visceral, rumbling foundation in alternative and experimental contexts. The Violent Femmes prominently featured the contrabass saxophone on their 2016 album We Can Do Anything, where it underpinned bass lines with unparalleled depth and resonance on tracks like "Issues" and "Big Car."^[37] Live performances of the album highlighted its ability to infuse punk-folk arrangements with new textural dimensions, often requiring amplification to match ensemble volumes.^[38] Similar occasional uses appear in experimental rock, where the contrabass saxophone contributes unconventional low-end growls and sustains to disrupt standard guitar-bass-drums dynamics. In larger popular ensembles, the contrabass saxophone bolsters harmonic fullness, as seen in saxophone choirs at events like the U.S. Navy Band's International Saxophone Symposium, where it anchors the lowest registers in multi-saxophone configurations.^[39] Jazz improvisers leverage its extreme low register for pedal tones—sustained, foundational pitches that ground harmonic progressions—and growls, achieved by vocalizing into the mouthpiece for raspy overtones, evoking raw emotional intensity.^[40] These techniques demand careful breath control due to the instrument's resistance, and amplification is crucial for audibility in stage settings, often via microphones or effects to project its subtle subtleties.^[4] Recent applications underscore the contrabass saxophone's growing presence in contemporary jazz education and media. At the Manhattan School of Music in 2024, student ensembles featured it prominently in recitals, including the December 2 Saxophone Studio Concert with Alexander Howard on contrabass saxophone performing works like Peter Lurye's Four Saxes in Two Movements, demonstrating its role in modern jazz combos.^[16] Similarly, the November 22 Composers' Concert highlighted it under conductor Jonathan Gold, blending improvisation with structured pieces.^[41] In film soundtracks, performers like Paul Brody have utilized the contrabass saxophone for experimental scores, exploiting its eerie, subterranean tones to evoke tension and atmosphere.^[4] Overall, the instrument's profound tonal depth enriches ensemble harmony, adding a visceral undercurrent that amplifies improvisational freedom across these genres.

Notable Performers

Historical figures

In the mid-19th century, Adolphe Sax himself served as the primary demonstrator of the contrabass saxophone during exhibitions in Paris, including the 1849 Industrial Exhibition where he displayed the full saxophone family to promote its adoption in military and orchestral settings.^[2] Sax's presentations highlighted the instrument's potential for low-register depth in ensembles, though production remained limited due to its complexity.^[5] By the early 20th century, the contrabass saxophone found niche use in American military-style bands, with leaders adapting it for marching ensembles to enhance bass lines. Harry Gold, a prominent British bandmaster active from the 1920s onward, incorporated low saxophones such as the bass saxophone into his dixieland and novelty groups, drawing from earlier U.S. influences to create bold, portable adaptations for live performances.^[42] Although specific affiliates of groups like the Sousa Band are noted in historical recordings from the early 1900s for promoting saxophone sections, verifiable contrabass use in such groups was rare and primarily experimental.^[43] Sigurd Raschèr emerged as a key classical advocate in the 1930s through 1960s, integrating the contrabass saxophone into his Raschèr Saxophone Ensemble for concerts across Europe and the United States, where its scarcity made each performance a pioneering event.^[44] Raschèr's efforts elevated the instrument's visibility in serious music circles, commissioning arrangements that showcased its tonal range despite logistical challenges like transport and intonation.^[27] In jazz contexts, the contrabass saxophone received brief attention in 1920s big bands, appearing in ensembles like the Charles Houston Novelty Jazz Orchestra of Philadelphia and New York City's Meyer Davis Band, though its unwieldy size limited widespread adoption amid the era's decline in low saxophone production.^[2] These historical figures contributed to the instrument's legacy through private collections and teaching; Raschèr, for instance, preserved multiple contrabass models and passed knowledge to students via masterclasses, ensuring techniques survived into later generations.^[44]

Contemporary musicians

Contemporary musicians have contributed to the revival of the contrabass saxophone, incorporating it into both classical and jazz contexts despite its rarity and physical demands. Active performers often specialize in extended saxophone families or low-register instruments, using the contrabass for its unique timbral depth in solo works, ensembles, and experimental pieces. These artists leverage modern manufacturing, such as instruments from Benedikt Eppelsheim, to expand the instrument's possibilities in live performances and recordings throughout the 2020s.^[4] Paul Cohen, an American saxophonist, teacher, and historian, is a prominent performer and collector of the contrabass saxophone. He owns a rare 1920s Evette & Schaeffer model and has featured it in recordings and performances, including a duet on a Metropolitan Museum of Art release that highlights its resonant low tones.^[2] In the classical realm, Australian saxophonist Michael Duke stands out as a prominent advocate. As Associate Professor of Saxophone at the Sydney Conservatorium of Music, Duke premiered Jim Coyle's Deeper, a contrabass saxophone concerto, with the Metropolitan Orchestra in August 2024, conducted by Sarah-Grace Williams. This world premiere highlighted the instrument's orchestral potential, showcasing Duke's technical prowess across its wide range in a live performance at Marrickville Town Hall. Duke's work emphasizes Australian compositions for saxophone, blending classical precision with the contrabass's resonant low tones.^[45]^[32]^[46] Jazz multi-instrumentalist Scott Robinson has been a key figure in integrating the contrabass saxophone into improvisational settings. Known for his vast collection of rare winds, Robinson performed on contrabass with the Maria Schneider Orchestra at the 2022 Newport Jazz Festival, delivering powerful solos that underscore the instrument's rhythmic and harmonic depth in big band arrangements. In January 2025, he featured the contrabass in a live concert at Teatro Manzoni in Milan as part of the Aperitivo in Concerto series, demonstrating its versatility in contemporary jazz ensembles. Robinson's recordings, such as those on Pi Recordings, often explore the contrabass's textural qualities alongside other saxophones.^[47]^[48]^[49] Dutch performer Bert Brandsma, a versatile saxophonist and jazz historian, acquired his own Eppelsheim contrabass saxophone in 2024, expanding his repertoire to include live demonstrations of its five-octave range. Brandsma debuted the instrument in a September 2024 concert at Villa von Bergen, performing original works like "Don Juan Thelonious" with pianist Jan-Hendrik Ehlers, blending swing, blues, and classical influences. Earlier, he toured the USA in 2012 using a borrowed contrabass, and by February 2025, he released videos of technical exercises pushing the instrument's limits, such as chromatic scales from low Bb to high notes. As a graduate of the Conservatory of Groningen, Brandsma performs with ensembles like Bert Brandsma & his Swing, Jazz & Blues Orchestra, promoting the contrabass in educational and concert settings across Europe.^[50]^[51]^[52] British saxophonist Jim Cheek, director of sax.co.uk, actively performs on contrabass in collaborative and demonstrative contexts. In a 2022 duet with Jamie Anderson, Cheek played Lizzo's "About Damn Time" on Eppelsheim contrabasses, highlighting the instrument's pop and jazz adaptability through synchronized bass lines. Trained at the Royal College of Music and Birmingham Conservatoire, Cheek integrates the contrabass into his work with groups like the House and Garage Orchestra, using it for both educational videos and live gigs that showcase its visual and sonic impact.^[53]^[54]

References

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The two-day event, first hosted by the Navy Band in 1978, features a mix of performances, masterclasses and lectures designed for musicians of all ages.Programs · FAQ · Apply · EducationMissing: contrabass | Show results with:contrabass
[42]
https://www.theguardian.com/news/2005/nov/17/guardianobituaries.artsobituaries
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[PDF] MSM Composers' Concert - Manhattan School of Music
FRIDAY, NOVEMBER 22, 2024 | 7:30 PM. GORDON K. AND HARRIET GREENFIELD HALL ... Alex Howard, contrabass saxophone. Jonathan Gold, Conductor. Page 6 ...
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Harry Gold | | The Guardian
Nov 16, 2005 · Gold bought his first bass sax from Rollini, a battered instrument that had fallen out of a car, and which he had to spend a fortune on putting ...
[45]
The Sousa Band - The Imperfect Saxophone
This is the first instance of a saxophone section in an American band. After Gilmore's death in 1892, Lefebre joined the Sousa Band and performed for two ...Missing: 1890s | Show results with:1890s
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Signature Collections - Fredonia - Reed Library
Oct 20, 2025 · The Sigurd Rascher Collection represents one of the finest collections of manuscript materials documenting the development of the saxophone's ...<|separator|>
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Associate Professor Michael Duke - The University of Sydney
Phillip's Hall, Sydney, Australia: Blackheath Chamber Music Festival. Duke, M. (2024). Deeper: Concerto for contrabass saxophone and orchestra. Deeper.
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Deeper - Contrabass Saxophone Concerto - YouTube
Sep 15, 2024 · Deeper – Contrabass Saxophone Concerto” - World premiere performance. Composer is Jim Coyle Performed by The Metropolitan Orchestra ...
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Scott Robinson playing his contrabass sax in the Maria Schneider ...
Aug 12, 2022 · Scott Robinson playing his contrabass sax in the Maria Schneider Orchestra at the Newport Jazz Festival.Scott Robinson Bass Sax - Smoke Gets in Your Eyes : r/Jazz - RedditGlen Gray Plays His Contrabass Saxophone (1938) : r/Jazz - RedditMore results from www.reddit.com
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sax contrabass player Scott Robinson Aperitivo in Concerto Teatro ...
Jan 25, 2025 · sax contrabass player Scott Robinson Aperitivo in Concerto Teatro Manzoni © roberto cifarelli #scottrobinson #saxcontrabass #LiveMusic ...Missing: contemporary | Show results with:contemporary
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Scott Robinson | Pi Recordings
In 1997, a 4-minute CNN program featured Scott and the giant contrabass saxophone which he used on his CD, Thinking Big. Scott has been the winner of a ...<|separator|>
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contrabass saxophone - Bert Brandsma
Since 2024 Brandsma has his own contrabass saxophone in his collection, but allready was happy to play on a borrowed one during his 2012 USA tour.
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Contrabass sax Maniac - Don Juan Thelonious in Villa von Bergen
Sep 1, 2024 · Bert Brandsma - contrabass saxophone Jan-Hendrik Ehlers - piano Live in Villa von Bergen 24.08.2024 First live concert of Bert Brandsma with ...
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The "Impossible" 5 octave Range on a Contrabass Saxophone
Feb 27, 2025 · Recorded Februari 27, in Garyp, the Netherlands Bert Brandsma and his Eppelsheim Contrabass Saxophone in a new excersize. The sheet music is ...Missing: experimental | Show results with:experimental
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GIANT Contrabass Saxophone Duet - YouTube
May 31, 2022 · Jim Cheek and Jamie Anderson play Lizzo's hit single "About Damn Time" on two EPIC contrabass saxophones.
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#10 Jim Cheek - Leading the biggest sax store ever - Odisei Music
A British saxophonist with an impressive background, Jim honed his skills at the Royal College of Music and the Birmingham Conservatoire. Presently, he leads ...Missing: contrabass | Show results with:contrabass