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A catalogue showing various Adolphe Sax instruments, including saxhorns, saxophones, and saxotrombas. The saxhorns form a family of seven brass instruments (although at one point ten different sizes seem to have existed). Designed for band use, they are pitched alternately in E ♭ and B ♭, like the saxophone group.
Download QR code; Print/export ... Artnet top ten most expensive photographs, April 2003; The two most expensive Stieglitz photos, 2006, click thumbnails to enlarge
The two created the signature horn sound at Stax on hit records by Otis Redding, Sam & Dave and others. After recording numerous tracks at Stax, he and Jackson incorporated themselves into The Memphis Horns and began freelancing. Love and Jackson recorded at sessions for such artists as Neil Diamond, Elvis Presley and Dusty Springfield.
Junior Wells, Everybody's Gettin' Some (CD, horn arrangements: Jon Smith/Steve Howard - "The Legendary White Trash Horns"), 1995, Telarc Records Billy Branch , The Blues Keep Following Me Around (CD, horn arrangements: Jon Smith/Steve Howard - "The Legendary White Trash Horns"), 1995, PGD/ PolyGram Pop
The flugelhorn (/ ˈ f l uː ɡ əl h ɔːr n /), also spelled fluegelhorn, flugel horn, or flügelhorn, is a brass instrument that resembles the trumpet and cornet, but has a wider, more conical bore. [1]
As a composer, he frequently scored for the saxophone. In chamber music, the most important examples include the Sexteto místico for flute, oboe, alto saxophone, harp, guitar, and celesta (1917), Quarteto simbólico for flute, alto saxophone, harp, celesta and women's voices (1921), the Nonet (1923), Chôros No. 3 and No. 7 (1925 and 1924 ...
The Memphis Horns was an American horn section, made famous by their many appearances on Stax Records. The duo consisted of Wayne Jackson on trumpet and Andrew Love on tenor saxophone . An "offshoot of the Mar-Keys ", they continued to work together for over 30 years. [ 1 ]
A sales representative for Grafton (or the owner of the company, depending on the source) asked Parker to use a Grafton for a Massey Hall gig in May 1953. Although Parker was under exclusive contract to use only one type of saxophone while gigging in the United States, outside the U.S. he was free to use any sax he wished.