Do we, as saxophonists, have a shredding complex? Before answering this question, you probably want to know what shredding is? Shred is defined as a verb meaning to "play a very fast, intricate style of rock lead guitar." Jimi Hendricks probably comes to mind for most. The saxophone, second only to the electric guitar, is perhaps most shred-friendly. I feel this is why saxophonists receive the brief 8 and 16 bar solos in big bands. Saxophonists are more trained at turning that shred button on at a moment's notice.
Shredding was never really my forte. I did it to the best of my abilities when the situation called for it. In general, I'm more of a thinker. I guess I still am. I've always tried to milk each note for its sonic worth, and sometimes it's swing currency. This goes against the grain of shredding. I don't mean to knock this performance practice. There's nothing like a shred moment to breathe excitement into an improvised solo.
My biggest issue is that musicality often takes a backseat.
Of the saxophone family, alto and tenor players probably act on their shred impulses most frequently—tenor players maybe slightly more. I could be wrong. Soprano players, we tend to be a different breed. We're often more economical and conceptual in our approach. Unless one is doubling, then there's a tendency to approach the instrument with a shredder's mindset. This is also how I often discern the straight horn visitor from the specialist. Straight horn specialists are rarely shredders.
Coltrane can be credited with bringing shredding to the soprano—Dave Liebman and Steve Grossman coming a close second. I'm not sure it was necessarily a good thing. I'm not knocking them; they're all great. However, the door was opened for others to take up the soprano solely for its ability to cut through unapologetic bashing and high-intensity band interplay levels. Consequently, saxophonists began to favor a one-dimensional vision for the instrument: top-register heavy, bright, and pitch optional. While it did increase the instrument's popularity, longterm, I felt a negative stigma was attached to the instrument that it still has not been able to shake. The soprano became unconsciously thought of as an instrument of lesser importance.
I think this is changing for many reasons, which I'll get into in a later posting.
With the criticisms of smooth jazz, one positive aspect of this subgenre is that it created a platform for the soprano where sensuousness was valued. In most instances, smooth jazz is a little too sweet for my taste. Nonetheless, it was a welcomed non-shredding alternative.
One reason I put down the tenor was that I didn't want to feel compelled to create in the expected spirit of competition. I figured it had to be more to music than alpha male domination.
Becoming a soprano player, I discovered a world of sensitivity, nuance, and texture. Of course, the alpha male shred monster always lurks within. The difference is that it is no longer my default creative mode.
Let me also note that players like Evan Parker made shredding on the soprano into a unique and attractive art form. And Branford Marsalis introduced a shredding approach that was less shrill, more nuanced, and swinging. So I'm not saying it's always a bad thing.
Again, do saxophonists have a shredding complex? Absolutely. Cynically speaking, how else are we going to command attention in this era of limited attention spans? If we want more saxophonists having the courage to step forward as musical poets, not only musical slayers, we need to start celebrating the former.
Sometimes we all need a reminder, myself included, that it is ok to leave rose petals on the bandstand. It does not always have to be rolling heads!
* This post was inspired by a thread on SaxOnTheWeb.net titled Do sax players "shred"?
