How 3 Of My Saxophone Students Got So Good!

[Music] [Music] uh [Music] damn they sound great and trust me i cannot take credit for that they all sound this good because they worked very hard but i did have the good fortune of mentoring all three of these students teaching them on skype until a few years back and each of these three students came to me at very different times of their lives one was a high school student one was already a professional saxophonist and one was a successful businessman coming back to his instrument for the first time in over 20 years each of these musicians are exceptional and the latter example joe totally debunks the myth that you can't become a virtuoso at saxophone or at music and improvisation later on in life because joe honestly improved at a faster rate than any student i've ever had so i'm really excited to profile joe later on and interview him a little bit which brings up what we're gonna get into today so over the past year while i've been off the road i've gotten back into teaching again and i've actually been doing this text lessons membership program which i know some of you have heard about and some of you are actually members of it's been really fun working directly with a bunch of really great students at all levels and actually on all instruments and so i've been working with a bunch of these students for a year now and you know i should mention that the studio is actually open right now it's actually open for the first time this year it's been closed for a long time but anyway i've been working with a bunch of these students for almost a year now and so i'm really trying to keep it fresh i'm trying to mix it up and i thought it might be a good opportunity to kind of go back and check out what's up with some of the students that i used to work with on skype and actually ask them and interview them about their experience becoming so good because they've been become such monstrous players i wanted to interview them and get a sense of some of the things that they worked on not only with me but just the things that they worked on to become such good players such advanced players so i could get some perspective and maybe see if there's some things that i could start giving the text lesson students that i've been working with for a long time and maybe get some insight on the most effective things that i worked with with these three students so i could get a sense of what really are the most effective things to be working with students while i'm teaching and most importantly i thought this might give all of you some perspective seeing some musicians who have become incredibly advanced over the years so i thought it might give you some perspective to get a sense of what you all should be practicing and what helped them the most to get to the level where they're at now so we're going to check out some of the highlights of the conversations catching up with these three saxophonists and we're gonna delve a little bit into some of the concepts that they bring up some of the things that they bring up that really helped them improve the most over the years so all of these guys are playing on a professional level now but first let's start off with a guy who actually came to me as a professional you've been touring for many years and playing all sorts of gigs throughout alabama and the south in general and really all over the world that's leroy bodiford [Music] [Music] you know i've been playing for a long time [Music] and a lot of that stuff that you you were telling me to do i was like man i never thought to do so leroy came to me already sounding so damn good but he wanted to take his plane to the next level and he mainly wanted to focus on being able to play through chord changes and jazz standards at a higher level being able to really nail the harmony of each chord and really sound fluid in the jazz language so playing through chord changes was one of our main focuses when we were working together as far as trying to really learn and internalize the course and so the fact that you had me go through the arpeggios and you had me go through like the arpeggios uh starting on different chord tones right you know all the exercises that you have me doing as far as like the diatonic exercise like that's that's really difficult like yeah so all that stuff is really like you know it's really helped me so leroy brought up a couple things that we worked on together there one was chord tone sewing with chord tones and two was soloing diatonically so let's briefly break down both of those concepts so with chord tones leroy and i did a lot of work together working on mixing up the arpeggio shapes of each chord and only playing the chord tones of every chord in a song form so for instance if you're on an f7 just improvise with the notes f a c and e flat but mix up the shapes of the arpeggio so you don't just play the notes straight up or down a lot of the work that leroy and i did together i actually wrote out for him as we were working through our lessons and this content which i was working on with leroy and other students at this time actually turned into the standards combo package that i put out with jazz lesson videos this material might seem a little basic for a high level professional but it's honestly a lot harder than you think and it ends up being really beneficial for your playing no matter if you're a developing player or a pro and with that in mind let's get into the other concept that leroy brought up which was the diatonic soloing which is essentially just soloing with the scale notes of every chord but it's a lot harder than you think to make it sound good a lot of focus on diatonic solos too like yeah i really didn't realize how horrible i was at there okay well that's definitely not true leroy did not sound terrible at that leroy is one of the most humble guys that you'll ever meet but a lot of times professional players don't realize how hard it is to make an exercise like this sound good and so that takes certain techniques like voice leading from measure to measure for instance that would mean if you're going from an f7 to a b flat seven try using stepwise motion to go from one chord to another and land on a chord tone so for instance that would sound like this [Music] when you work on getting that down from measure to measure it's going to make you sound so much more melodic playing through a standard song form or a set of chord changes again all of these techniques are in the ebooks from that standards combo package if you want to get a download or a resource to help with this material the content in this combo package is honestly the number one thing that i recommend to both developing players and professional players because honestly the fundamentals are so crucial no matter what level you're at and so if you want to develop your raw skills and musicianship this is definitely going to be a really good resource for you to check out when you're getting into new material and when you're getting into something that's hard or unfamiliar for you you're going to have to be patient and disciplined and so with that in mind it's important to remember no matter what level you're at even if you're a pro you got to take things slow and leroy was always really good at that man yeah you you you kind of opened my eyes to a lot of the stuff that you like i thought that i would be really that i would get really quickly i had to like slow it down and really take my time and like it's a process and so that's one common theme that i've noticed in the musicians that develop really rapidly they're always disciplined and patient enough to take things slow and of course disciplined enough to tackle material that's completely new to them and motivated enough to push themselves into getting into that new material and so of course that is one of the benefits of having someone as a mentor because they can really keep you honest and make sure you're addressing the things that need to be addressed in developing your musicianship and so i always try to be really deliberate when i'm working with someone i always try to be really deliberate on getting them into material that's really going to benefit them the most no matter how hard it is or no matter how unfamiliar that content might be for them so one thing that i worked on with leroy is i would have leroy transpose different phrases i really feel like transposition is one of the most beneficial things that a musician can work on to improve their skills it was a little less familiar for leroy but he ended up really benefiting from that experience even though it might have been a little uncomfortable for him at the start and uh you know i think i had you transposing a lot more than you were before right yeah it was it was yeah you you you were pushing me you played good man so a huge part of staying disciplined and motivated comes down to organization and organization will essentially help you learn how to practice so when i started working with ryan who was the young whooper snapper of this bunch i made sure to make that a priority yeah i mean yeah and it's cool because like i i feel like you really you you were you came in into my my saxophone life at a time where you really taught me how to practice in a in like a very productive way so whoever you're studying with you should make sure that they're giving you consistent structured assignments and also varying the material that they're giving you from week to week or month to month to make sure that things are switching up and you're staying engaged that's going to be a really big part of giving you the guidance that you need to make sure that you're practicing and learning how to practice better so with ryan i always made sure that he had a set of assignments and a practice plan lined up for each lesson because that to me is such a crucial part of mentorship so of course that's something that i'm always doing with the members of the text lesson studio ryan obviously was already practicing a lot to be as advanced as he was when i started working with him when he was only in high school but to help him get to the next level i knew i would need to help him narrow the focus yeah i remember i remember like one of the first things we started with was like this lester young transcription you had me do like to really work on my time like i remember we worked a lot on my time in articulation at the beginning you know because because you were i think you you told me like a lot of the stuff that i was doing was cool but like a lot of it was out of time and like weirdly articulate or whatever so you had me do some of those tonguing exercises like the short long short long and long short long short all right so a couple things to unpack there one is that you would think with the way that ryan is [Music] you playing necessarily think that studying lester young is a big part of what got him to be able to shred like that on the horn but the reality is studying lester young gives every improviser a really important foundation that they can build off of and i found that working on this lester young material really helped ryan start to rein in his chops and use it in a way that was a lot more grounded but then to build his technique from there and make it a lot more cohesive we worked on a lot of technique and articulation exercises so right there he referred to an articulation exercise that i've definitely showed a bunch of students in the past especially the students in the text lesson studio and that is an exercise that i like to call the rhythm trick a quick breakdown of that rhythm trick would be essentially this you do two versions of it and it helps you go from playing eighth notes to sixteenth notes so what you do is you start by playing the first eighth note long and then the second eighth note short so really the first eighth note ends up being a dotted eighth note and the second eighth note ends up being a sixteenth note that's going to sound like this then after you do that you're going to flip the rhythm so the first note is going to be a 16th note and then the second note is going to be a dotted eighth note and you continue that from [Music] there [Music] once you've done that theoretically you should be able to play that exercise in total double time just as 16th notes that's going to be really effective especially if you're focusing on the articulation that's really going to help you tighten up your 16th note lines then another thing that ryan and i worked on together that i actually forgot about was the concept of etudes and this was a great reminder for me because he actually reflected on how beneficial that was for him and i completely forgot about this technique and how we worked on that together so i've actually started adding that to the assignments that i've been giving the text lesson studio members with that in mind the number one thing i took away from our lessons that i still do like every day is i write etudes for myself on everything like i don't even necessarily write them down but they're up here you know what i mean like i do them either based off of artists so like you know brecker chris part whoever i'm like kind of studying or i put on tunes you know right right um and that like i that that is probably the number one thing i took away from our lessons was was how to do that and then how to implement it into your own plane so ryan's got an incredibly advanced and he doesn't necessarily need to write down his ideas anymore but that kind of brings up the point which is if you start playing etudes like the ones that i wrote for ryan and then you kind of deconstruct how they work and start working on writing your own etudes and then from there start working on improvising in a way that sounds like a spontaneous composition that's really going to take your playing to the next level so that's something that i've started to implement more with the advanced members of the text lesson studio and again that's something that i'm working on with the advanced members i'm happy to work with all levels and musicians of all instruments so definitely make sure to check that out now if you'd like to get more serious about your development again it's been something that i've been doing over the past year while i've been off tour it's been a lot of fun the studio is not always open so if you're watching this video maybe a little while after it released and the studio is not open just make sure to sign up for the wait list but if it is open make sure to try it well you still can it's usually just open for a few days or maybe a few weeks at most and it's a lot of fun you can cancel at any time no questions asked so just give it a try and see if it's a good fit for you but if you'd rather just be self-guided in your development and you just want to work on things on your own you are welcome to download the standards combo package where that's going to have a bunch of etudes for you through the ebook on approach note etudes and also the ebook of modern etudes which uses the concept of melodic cells and then one thing to keep in mind when you're writing etudes or learning etudes or even working on transcriptions whatever you're doing related to song forms try to make sure that you memorize the chord changes first that's something that players of all levels kind of skate over and it's really important something that i was always reminding him to do first make sure to memorize those chord changes before you're getting into the content as far as playing lines and transcriptions and etudes and all that yeah with with the uh transcriptions um and taking them through the keys um i think i remember always having you memorize the chords first too right like i think i even had to arpeggiate each chord as annoying as that was through the through the tune sometimes yeah especially like during the weeks before i was like man i'm just having a really hard time with this you'd be like well let's just get through the chords you know yeah right and i remember in your emails like you would always leave like a little bit of like a pep talk at the bottom with them like hey man just remember learn the chords first so i've always emailed assignments to students whether it was back then or especially now with the members of the text lesson studio i've always sent the assignments an email because it's so important to have everything written down and be able to circle back to that and see everything mapped out for you and ideally have practice plans going along with that as far as how much time you should distribute into what you're practicing every week and so that's something that i've definitely been doing with the members of the text lesson studio to help keep everything organized and structured for them and also to motivate them and remind them about the things that they might not otherwise think of if they didn't have everything written down for them visually like with ryan i would always remind him to make sure to learn the changes first and then with ryan we also reflected on kind of a nice story that he brought up that i totally forgot about coming back to this concept of mentorship uh with all the mentors that i studied with at least all the best ones i remember i used to get my ass kicked and so i couldn't help myself when i got the opportunity to kind of teach ryan a lesson on the fly when we actually got to work together in person in kind of a more professional setting so pretty much although ryan is very young he is also a really exceptional entrepreneur and jazz educator himself so he actually directs a program called the orlando jazz workshop every year and i've been fortunate enough to be a guest artist at that workshop a couple times so after one of the workshops i ended up actually sitting in on a gig that ryan was playing at a nice little casual bar in orlando and so i came down and i sat in on that gig and played a few tunes and one tune ryan didn't actually know and so i'll let him tell the story from here it was fun to kind of reminisce on this experience i remember at you we played a gig together when you came into my workshop the first year at like the pillars venue in winter garden yeah and i you called alone together and at this time i did not know alone together and i remember you pulled me off the stage and you were like you're going to play alone together and i was like really yeah i remember this dude it was it was so funny you're like i'm gonna i'm gonna tell you the changes once you're gonna listen to it once and then you're gonna go play the solo and i was like what i was like so i was like what you know and i was like yeah i was like 20 or 21 or whatever and you're like yeah and then so you told him as it went around and then he's like okay and then you're like okay i'm gonna go solo and listen and i was like oh my god he's gonna make me solo after him too right it's all of like the worst thing it's all the worst things and so you take it you know you take like this fantastic solo and i'm like oh my god and i went up and i remember just thinking to myself i'm like what am i gonna you know and from that day forward you know it it was a big lesson even though it was kind of funny it was a big lesson because like it told me like i i know alone together probably better than any other tune now and then um yeah yeah and then also like me realizing that there was so many other tunes for me to learn that that's like something you can do every day just learn another tune learn another tune you know and then also opening up my ear on the bandstand so if someone doesn't know like that calls the tune that i don't know i can be like okay play it once and then i'm cool and so this actually brings up something that i just did a video on i actually honestly feel that any musician can learn a standard after just one chorus if they train themselves and develop the skills necessary in order to do that and it's definitely not as far-fetched as you might think and so essentially it all comes down to developing your ears to hear harmonic devices and so your ears don't actually have to be super advanced to just start getting into this all you have to do is start getting into the concept of recognizing harmonic devices and that's actually going to be a lot less hard than you might think if you get organized about it so this is something that i worked on a lot with ryan and it's something that i got into in a master class that i just released with jazz lesson videos called mastering chord changes a big part of that master class is about getting into those different puzzle pieces getting into those harmonic devices i go through about 20 harmonic devices in that master class which might sound like a lot but if you just learn one a day which is totally reasonable in a month you'll be able to learn jazz standards way faster by just understanding each of these harmonic devices and then just putting them together like puzzle pieces when you're learning a jazz standard so if you want a resource on how to go about that idea just check out that master class that i put out again it's called mastering chord changes and i go into all those harmonic devices in a bunch of different ways that you can recognize them and start to play through them a lot more fluidly as well but look whatever you do if you're getting into a concept that's less familiar you've got to be brave about it and courage is always something that i admired in ryan when i watched him develop ryan was always so motivated when i was working with him and i couldn't help but reflect on that a little bit when we caught up and i brought up some points about what i think makes the greatest musicians get so good at what they do i knew because you had that fire inside like i knew that like i could throw anything at you and put you in any uncomfortable situation and you would feel the way that you need to feel in that type of situation which is like that's not gonna happen again like you know i was just taught a lesson i need to get that down you know and i think so often it's easy to feel like when that happens it's really easy and i see so many musicians do this so many musicians say well i'm just not good enough for that like i'm not talented there's something wrong with me like and that's why i'm never going to be an awesome musician and it's like no no no you just have to want it and you have to say like no i'm like i'm i'm gonna fix that weakness you know because yeah like man no nobody was born with the instrument in their hands just like playing perfectly you know it's just it's just about the desire and and you know motivating yourself and and uh you know wanting to get better and and and learning those lessons and i could always tell with you like like i could always tell with you you wanted it and you're gonna make it happen and it was just yeah it was it was it was just always so fun you know just seeing you develop you know over the few years that we worked together and so reflecting on these ideas i think it's important to remember that it's never too late to become a totally virtuosic musician sometimes you might see a young player like ryan and think off only i did that when i was that age and it's probably too late now but that is definitely not the case because honestly i have never seen a student progress at the rate of the musician that i'm about to show you now and this next saxophonist joe was able to progress at this insane rate after taking 20 years off of playing the saxophone which i think is quite remarkable so joe went from just playing some nice blues scale licks when i first heard him and first started working with him to honestly shedding playing down stablemates in all 12 keys like i would actually have to prepare for my lessons with joe just to make sure that i had the techniques together to get through it because joe was playing on such a high level in getting into such advanced [Music] territory [Applause] so now let's check out some of the highlights from that interview because i think it will be really cool for a lot of you to check out what joe worked on and what joe credits as being some of the factors that really helped him develop at such a rapid rate when we started working together i think you had taken like over 20 years off of plane is that right yeah yeah well i i played here and there but right uh it is fair to s so my high school band uh director was a really really wonderful guy and very supportive and everything but um you know it's a small town and then you know i go off and go off into engineer land and i did play here and there but i never really studied things and then you know i would just kind of hack my way through so when joe and i first got started together i got the sense that joe really wanted to dedicate a lot of time towards his practicing so for that reason i ended up throwing a lot of stuff at him i would give him a lot of content and every few weeks he would end up getting all of it down so he demonstrated a lot of focus right from the beginning and then from there he started actually developing at a rate that was so fast that i think it might have actually surprised him a little bit you know i'm kind of amazed at what you can teach yourself to do if you you if you stick with it for a little bit so when i reconnected with joe just like when i reconnected with leroy and ryan i wanted to get a sense of some of the things that he felt really benefited his plane in terms of what he worked on some of the things that helps kind of make things click for him so i asked joe about that and first he actually brought up i think what was a really good point about uh practicality of the content that you work on you're very organized in how you approach things and um you know i think your students should feel really good about the fact that there's a there's a lot of of thought that goes into what is an exercise that if you practice this exercise it'll just start to come out in your plane so obviously when i structure assignments i'm giving material to the student that i think is going to make them play better and i'm trying to give them content that's going to be really practical in terms of being useful for them to actually use when they improvise and so it was great to hear that joe felt like the material that we worked on together started to come out into his plane that was practical material to be working on because that's definitely the goal but it's also important to note that joe was really good about trusting in the process so in other words joe would never worry about whether certain content that we were working on was going to produce results so joe always just dedicated himself as much as he could to each topic that we covered in each set of assignments and then so he would trust that the benefits would come and so with that in mind joe brought up a topic that we worked on a lot together a topic that i think a lot of times for students when they're first approached with it is really intimidating so it was cool to hear that he feels like it was really integral in his development and i do have to say i did notice a rapid rate of improvement when joe really started absorbing this concept all of your enclosure work is is really good and and um enclosures and and how do you get the language to string together because melodies can happen and then you often need lines that connect these thoughts and and enclosures were a really good i don't know i i eat the same mechanical way but they were a really good way of sort of getting that into my fingers so that you know if i if i to i can do enclosures now until the cows come home it's just kind of in me and you know that's largely coming from your materials so enclosures are a way of wrapping around the notes in the scale or oftentimes more specifically the chord tones of a chord when you use chromatic enclosures to essentially wrap around a target note it ends up sounding really interesting and melodic because it utilizes the melodic foundation of a chord but the voice leading ends up being extended through using all this chromaticism that happens around the notes so that might sound complicated but all it really means is that for example if you want to get to the root of a c major chord with a chromatic enclosure you could wrap around that note as you approach it with the notes for instance d d-flat and b so for instance that would sound like this so you see examples of chromatic enclosures like this all over the solos of legends like charlie parker and dexter gordon so what i did with joe to help him implement this concept into his plane was i gave him a bunch of exercises that actually used this concept working up the scale degrees of a scale so essentially we would build these shapes and then use chromatic enclosures a lot of times at the end of the shapes but sometimes in the beginning of the shapes to combine them with diatonic shapes and just create some really cool sounding technical exercises so the goal with that was to help joe incorporate melodic chromaticism into his technical practicing so a lot of times people get really stuck in just practicing scale exercises this really goes beyond that and gets into content that's a lot more practical for your line construction and playing a lot more advanced sounding lines and then i would also give joe a lot of phrases that he would take through the keys these compact phrases that would essentially use a really high concentration of the enclosure concept so then when he was taking it through the keys he would just be internalizing it all the more it's one of those things where coming back to what we were talking about earlier you just have to trust in the process and know that if you're working on this stuff and you're internalizing it eventually it's going to start to come out in your plane and you're going to start sounding a lot better because you've started to integrate this concept if you want to work through this type of concept together we can totally do that together in the text lesson studio right now if you're watching this video soon after release the studio is probably still open it's open for the first time this year but if you're watching this video a little later on you might find that the studio is closed so just sign up for the wait list but either way if you prefer to be more self-guided with this sort of thing that's cool too i think it's great to have a mentor to keep you honest make sure you're understanding every step of the way but if not if you feel confident about being self-guided that's totally cool and i would recommend checking out the approach notes and enclosure combo package download that i put out with jazz lesson videos that will definitely give you everything you need in terms of exercises and phrases like the type of thing that i worked with joe on and then also etudes over standard progressions like what we talked about earlier with ryan another thing that was really good and i i struggle with to today hold on i'm getting better is my articulation and um you had both exercises and you were gracious enough to to stop me and say you know that's not bad but it sort of sucks still and you said you'd say it really nice so we see here that joe is extremely humble and so we're seeing a common theme here between joe leroy and ryan we're seeing a common theme of humility which i find a lot of times the best players are very humble and down to earth and they're always just focused on bettering themselves so i do think that's important to note but essentially the articulation concept that joe brought up comes down to this there's a misconception that jazz legends simply articulate the offbeats when they play lines that go up and down because in reality usually when they go up they're actually articulating the downbeats with a duden duden articulation you can hear this in solos from everyone from lester young to michael brecker and everyone in between and this is something that i get into a lot with text lesson students because with articulation it's definitely great to be able to send someone a video and get feedback on how you're coming along with the articulation and take it step by step but for now let's check out one of the exercises that i worked on with joe we're actually going to take it back to that enclosure concept so we're going to tie everything together and again if you like being more self-guided this is a concept that i did a full master class on which has lesson videos got really into detail with all sorts of articulation type of stuff so make sure to check that out if you want to get more serious about this type of thing so with this enclosure exercise you're going to see that there's syllabic notation written here so what that means is essentially because there is no way to truly write this articulation with our musical notation system it actually helps to just be able to see the sounds written out that we're essentially making on the instrument and even in our mouth if we're a saxophonist in order to achieve this type of articulation so with this concept the ascending version of this exercise essentially sounds like this [Music] and if by now you're feeling overwhelmed with all of the content that we've gotten into in this video it's important to remember a couple things one all of these students took every concept step by step so we would a lot of times rotate through multiple concepts at a time just to keep things fresh but in a few weeks we wouldn't get down a concept from start to finish so we would always be taking things incrementally but the important thing was we were always moving forward we're always keeping things fresh and i think that's one of the reasons why all of these saxophonists really made a lot of great strides when we were working together but all the credit ultimately goes to them because they put the work in and one thing that they were also very good at the other thing that i wanted to mention to keep in mind is that they were all really good at taking things slow so they were daring and brave enough to tackle new concepts and then they were patient and disciplined enough to take it slow knowing that the slower they took it the more they would actually be able to absorb and internalize the information that they were learning that's something that i always make sure to remind my students when they start getting a little ahead of themselves but ultimately the decision is always in the hands of the musician to take that step back and make sure that they're moving through something at a pace that's going to allow them to internalize and digest things slowly and so joe was really great at having that discipline and i can remember remember you saying you know slow it down just go as slow as you as you need so that these things occur more naturally and then it'll go faster and possibly the most rewarding thing about reconnecting with joe was hearing that he's actually been getting a lot of calls for gigs which to me came as no surprise because he's playing at such a high level and i think that's really the ultimate testament for how much he's developed as a player and so for me it's definitely an honor to feel like i've played just a small part in joe's development but ultimately as i've said several times now today the credit always goes to the musician putting the work in and joe just did so much great work and had so much focus during our time together and still now beyond as he continues to get better and better what's really cool is is that you mentioned you're gigging now that's that's just awesome and and i think it was just starting when pregnant yeah right exactly and and i think um you know uh and i'm sure it will come back obviously um just a matter of time but i i think it's so cool to hear because i you know i have people ask me all the time like how do you start gigging and like you know the first answer is you get good you know like like um you'll play gigs because people want to play with you and people um you know want to call you to play on their gigs and and um you know uh nothing will do it like just getting good you know um and so i think it's really cool because i i have told all sorts of people um honestly like oh yeah there's this one student i had you know he took 20 years off practically you know didn't really play for a long time and came to me and you know like by the time like we were done working together like i literally would have called him to sub you know for or something like i would i would have recommended him you know to to play a game you know and and and that that's good yeah that says a lot and i i really mean it so i think it's really cool to see that that was happening you know obviously just before the pandemic that you're starting to get calls all right guys i really hope you learned something today from the experiences of these phenomenal saxophonists if you haven't subscribed to the channel already make sure to do that and if you'd like to work with me directly it would be great to work with you in the text lessons studio if that's open right now make sure to give it a try while you still can as oftentimes it is closed most of the time it's actually closed at capacity so if it's open make sure to give it a try you can cancel at any time no questions asked just give it a try see if it's a good fit for you and if i can help you improve at a more rapid pace that is definitely my priority just to help you all get better at your musicianship goals so make sure to check it out while you still can alright guys thanks for watching and i'll see you next time

Channel: Chad LB

Views: 46,488

Keywords: Saxophone, Saxophone Chad LB, Saxophone Chad Lefkowitz-Brown, Chad LB, Chad Lefkowitz-Brown, How to learn saxophone, how to play saxophone, saxophone lessons, saxophone jazz lesson, saxophone jazz improvisation, ryan devlin chad lb, ryan devlin saxophone, laroy bodiford saxophone, beginner saxophone, saxophone lesson for beginners, how to improvise, learn jazz sax, jazz saxophone lesson, jazz saxophone, chad lb saxophone, chad lefkowitz-brown saxophone, best saxophone lesson

Id: y2kE93Lmodo

Length: 38min 45sec (2325 seconds)

Published: Thu Apr 22 2021