Editing Saxophone (section)

===In jazz and popular music===
{{further|List of jazz saxophonists}}
[[File:(African American) Jazz Band and Leader Back with (African American) 15th New York. Lieutenant Jame . . . - NARA - 533506.jpg|thumb|300px|right|''[[SS Potsdam (1900)|SS Stockholm]]''. 369th Infantry Regiment Band and leader Lt. James Reese Europe, winter 1918–1919]]
Coincident with the more widespread availability of saxophones in the US around the turn of the century was the rise of [[ragtime]] music.  The bands featuring the [[syncopated]] African-American rhythmic influences of ragtime were an exciting new feature of the American cultural landscape and provided the groundwork for new styles of dancing.  Two of the best known ragtime-playing brass bands with saxophones were those led by [[W. C. Handy]] and [[James R. Europe]].  Europe's 369th Infantry Regiment Band popularized ragtime in France during its 1918 tour.<ref name="Scott1919">{{cite book|author=Emmett Jay Scott|title=Scott's Official History of the American Negro in the World War|url=https://archive.org/details/scottsofficialhi00scot|year=1919|publisher=Homewood Press|pages=[https://archive.org/details/scottsofficialhi00scot/page/308 308]–}}</ref> The rise of dance bands into the 1920s followed from the popularity of ragtime.  The saxophone was also used in [[Vaudeville]] entertainment during the same period.  Ragtime, Vaudeville, and dance bands introduced much of the American public to the saxophone.  [[Rudy Wiedoeft]] became the best known individual saxophone stylist and virtuoso during this period leading into the "saxophone craze" of the 1920s.<ref>{{cite web| url = http://www.garfield.library.upenn.edu/essays/v12p068y1989.pdf| title = How Rudy Wiedoeft's Saxophobia Launched the Saxual Revolution}}</ref> Following it, the saxophone became featured in music as diverse as the "sweet" music of [[Paul Whiteman]] and [[Guy Lombardo]], jazz, swing, and large stage show bands.{{Citation needed|date=March 2020}}

The rise of the saxophone as a jazz instrument followed its widespread adoption in dance bands during the early 1920s.  The [[Fletcher Henderson Orchestra]], formed in 1923, featured arrangements to back up improvisation, bringing the first elements of jazz to the large dance band format.<ref name=aaj>{{cite web|url=http://musicians.allaboutjazz.com/musician.php?id=7571#.ULZrjofhpMt |title=Fletcher Henderson |date=4 December 2018 |publisher=Musicians.allaboutjazz.com |access-date=2019-02-23}}</ref> Following the innovations of the Fletcher Henderson Orchestra, the [[Duke Ellington Orchestra]] and [[Jean Goldkette]]'s [[Victor Recording Orchestra]] featured jazz solos with saxophones and other instruments.  The association of dance bands with jazz would reach its peak with the [[swing music]] of the 1930s. The large show band format, influenced by the 1930s swing bands, would be used  as backing for popular vocalists and stage shows in the post World War II era, and provided a foundation for big band jazz.  Show bands with saxophone sections became a staple of television talk shows (such as the ''[[Tonight Show]]'' that featured bands led by [[Doc Severinsen]] and [[Branford Marsalis]]) and Las Vegas stage shows. The swing era fostered the later saxophone styles that permeated [[bebop]] and [[rhythm and blues]] in the early postwar era.{{Citation needed|date=March 2020}}
[[File: Coleman Hawkins.jpg|thumb|200px|left| Coleman Hawkins, the most influential saxophone stylist of jazz's early period, c. 1945]]
[[Coleman Hawkins]] established the tenor saxophone as a jazz solo instrument during his stint with Fletcher Henderson from 1923 to 1934.  Hawkins' [[arpeggiated]], rich-toned, vibrato-laden style was the main influence on swing era tenor players before [[Lester Young]], and his influence continued with other big-toned tenor players into the era of modern jazz.  Among the tenor players directly influenced by him were [[Chu Berry]], [[Charlie Barnet]], [[Tex Beneke]], [[Ben Webster]], [[Vido Musso]], [[Herschel Evans]], [[Buddy Tate]], and [[Don Byas]].<ref name="New Grove" />  Hawkins' bandmate [[Benny Carter]] and Duke Ellington's alto saxophonist [[Johnny Hodges]] became influential on swing era alto styles, while [[Harry Carney]] brought the baritone saxophone to prominence with the Duke Ellington Orchestra. The New Orleans player [[Sidney Bechet]] gained recognition for playing the soprano saxophone during the 1920s, but the instrument did not come into wide use until the modern era of jazz.{{Citation needed|date=March 2020}}

As Chicago style jazz evolved from [[Dixieland|New Orleans jazz]] in the 1920s, one of its defining features was the addition of saxophones to the ensemble.  The small Chicago ensembles offered more improvisational freedom than did the New Orleans or large band formats, fostering the innovations of saxophonists [[Jimmy Dorsey]] (alto), [[Frankie Trumbauer]] (c-melody), [[Bud Freeman]] (tenor) and [[Stump Evans]] (baritone).  Dorsey and Trumbauer became important influences on tenor saxophonist Lester Young.<ref name="New Grove" />

Lester Young's approach on tenor saxophone differed from Hawkins', emphasizing more melodic "linear" playing that wove in and out of the chordal structure and longer phrases that differed from those suggested by the tune. He used vibrato less, fitting it to the passage he was playing. His tone was smoother and darker than that of his 1930s contemporaries. Young's playing was a major influence on the modern jazz saxophonists [[Al Cohn]], [[Stan Getz]], [[Zoot Sims]], [[Dexter Gordon]], [[Wardell Gray]], [[Lee Konitz]], [[Warne Marsh]], [[Charlie Parker]], and [[Art Pepper]].<ref name="New Grove" />
[[File: Portrait of Charlie Parker in 1947.jpg|thumb|200px|left| Charlie Parker, leader of the bebop revolution, 1947]]
The influence of Lester Young with the [[Count Basie Orchestra]] in the late 1930s and the popularity of Hawkins' 1939 recording of "[[Body and Soul (1930 song)|Body and Soul]]" marked the saxophone as an influence on jazz equal to the trumpet, which had been the defining instrument of jazz since its beginnings in New Orleans. But the greatest influence of the saxophone on jazz was to occur a few years later when alto saxophonist [[Charlie Parker]] became an icon of the [[bebop]] revolution that influenced generations of jazz musicians. The small-group format of bebop and post-bebop jazz ensembles gained ascendancy in the 1940s as musicians used the harmonic and melodic freedom pioneered by Parker, [[Dizzy Gillespie]], [[Thelonious Monk]], and [[Bud Powell]] in extended jazz solos.{{Citation needed|date=March 2020}}

During the 1950s, prominent alto players included [[Sonny Stitt]], [[Cannonball Adderley]], [[Jackie McLean]], [[Lou Donaldson]], [[Sonny Criss]] and [[Paul Desmond]], while prominent tenor players included Lester Young, Coleman Hawkins, [[Dexter Gordon]], [[John Coltrane]], [[Sonny Rollins]], [[Stan Getz]],  [[Zoot Sims]], [[Lucky Thompson]], [[Eddie "Lockjaw" Davis]], and [[Paul Gonsalves]].  [[Serge Chaloff]], [[Gerry Mulligan]], [[Pepper Adams]] and [[Leo Parker]] brought the baritone saxophone to prominence as a solo instrument.  [[Steve Lacy (saxophonist)|Steve Lacy]] renewed attention to the soprano saxophone in the context of modern jazz and John Coltrane boosted the instrument's popularity during the 1960s. Smooth jazz musician [[Kenny G]] also uses the soprano sax as his principal instrument.<ref>{{Cite web|title=Kenny G &#124; Encyclopedia.com|url=https://www.encyclopedia.com/people/literature-and-arts/music-popular-and-jazz-biographies/kenny-g#3428400281|access-date=2023-02-17|website=www.encyclopedia.com}}</ref>

Saxophonists such as John Coltrane, [[Ornette Coleman]], [[Sam Rivers (jazz musician)|Sam Rivers]], and [[Pharoah Sanders]] defined the forefront of creative exploration with the avant-garde movement of the 1960s. The new realms offered with [[Modal jazz|Modal]], [[harmolodics|harmolodic]], and [[free jazz]] were explored with every device that saxophonists could conceive of. Sheets of sound, tonal exploration, upper harmonics, and multiphonics were hallmarks of the creative possibilities that saxophones offered. One lasting influence of the avant-garde movement is the exploration of non-Western ethnic sounds on the saxophone, for example, the African-influenced sounds used by Sanders and the [[India]]n-influenced sounds used by Coltrane. The devices of the avant-garde movement have continued to be influential in music that challenges the boundaries between avant-garde and other categories of jazz, such as that of alto saxophonists [[Steve Coleman]] and [[Greg Osby]].
[[Image:Illinoisjacquet.jpg|thumb|200px|left|Illinois Jacquet, early influence on R&B saxophone, 1941]]
Some ensembles such as the [[World Saxophone Quartet]] use the soprano-alto-tenor-baritone (SATB) format of the classical saxophone quartet for jazz.  In the 1990s, World Saxophone Quartet founder [[Hamiet Bluiett]] formed the quartet Baritone Nation (four baritones).<ref>{{Cite news|last=Russonello|first=Giovanni|date=2018-10-07|title=Hamiet Bluiett, Baritone Saxophone Trailblazer, Dies at 78 (Published 2018)|language=en-US|work=[[The New York Times]]|url=https://www.nytimes.com/2018/10/07/obituaries/hamiet-bluiett-dies-at-78.html|access-date=2021-03-08|issn=0362-4331}}</ref>

The "jump swing" bands of the 1940s gave rise to [[rhythm and blues]], featuring horn sections and exuberant, strong-toned, heavily rhythmic styles of saxophone playing with a melodic sense based on [[blues]] tonalities.  [[Illinois Jacquet]], [[Sam Butera]], [[Arnett Cobb]], and [[Jimmy Forrest (musician)|Jimmy Forrest]] were major influences on R&B tenor styles and [[Louis Jordan]], [[Eddie "Cleanhead" Vinson]], [[Earl Bostic]], and [[Bull Moose Jackson]] were major influences on alto.  The R&B saxophone players influenced later genres including [[rock and roll]], [[ska]], [[Soul music|soul]], and [[funk]].  Horn section work continued with  [[Johnny Otis]] and [[Ray Charles]] featuring horn sections and the [[Memphis Horns]], the [[Phenix Horns]], and [[Tower of Power]] achieving distinction for their section playing.  Horn sections were added to the Chicago and West Coast blues bands of [[Lowell Fulson]], [[T-Bone Walker]], [[B.B. King]], and [[Guitar Slim]]. Rock and soul fusion bands such as [[Chicago (band)|Chicago]], [[The Electric Flag]], and [[Blood, Sweat, and Tears]] featured horn sections. [[Bobby Keys]] and [[Clarence Clemons]] became influential rock and roll saxophone stylists. [[Junior Walker]], [[King Curtis]] and [[Maceo Parker]] became influential soul and funk saxophone stylists, influencing the more technical [[jazz-fusion]] sounds of [[Michael Brecker]] and [[Bob Mintzer]] and pop-jazz players such as [[Candy Dulfer]].{{Citation needed|date=March 2020}}