Editing Saxophone (section)

==Usage==
[[File:Jarell Harris playing saxophone in Disneyland Hong Kong (40714629233).jpg|thumb|A US [[Navy Music Program#Commander, Seventh Fleet Band|Seventh Fleet Band]] sailor with a tenor saxophone in Hong Kong]]

===In military bands===
The saxophone first gained popularity in [[military band]]s. Although the instrument was initially ignored in Germany, French and Belgian military bands were quick to include it in their ensembles. Most French and Belgian military bands incorporate at least a quartet of saxophones, comprising an E{{music|b}} baritone, B{{music|b}} tenor, E{{music|b}} alto and B{{music|b}} soprano. These four instruments have proven the most popular of all Sax's creations with the E{{music|b}} contrabass and B{{music|b}} bass usually considered impractically large and E{{music|b}} sopranino insufficiently powerful. British military bands tend to include at minimum two saxophonists on alto and tenor.{{citation needed|date=March 2019}}

=== In classical music ===
The saxophone was introduced into the [[concert band]], which usually calls for an E{{music|b}} alto saxophone, a B{{music|b}} tenor saxophone, and an E{{music|b}} baritone saxophone. A concert band may include two altos, one tenor, and one baritone. A B{{music|b}} soprano saxophone is also sometimes used, and is played by the first alto saxophonist. A bass saxophone in B{{music|b}} is used in some concert band music (especially music by [[Percy Grainger]]).<ref>{{cite web|url=http://trove.nla.gov.au/newspaper/article/29159962?searchTerm=percy%20grainger%20bass%20saxophone&searchLimits= |title=A Talk On Modern Band Music |last=Ventry |first=J. |date=26 March 1930 |website=Trove.nla.gov.au |publisher=The Mercury |access-date=3 February 2017}}</ref>
[[File: Sigurd Rascher.jpg|thumb|200px|right|Classical saxophonist [[Sigurd Raschèr]]]]
Saxophones are used in chamber music, such as [[saxophone quartet]]s and other chamber combinations of instruments. The classical saxophone quartet consists of a B{{music|b}} soprano saxophone, E{{music|b}} alto saxophone, B{{music|b}} tenor saxophone, and E{{music|b}} baritone saxophone (SATB). On occasion, the soprano is replaced with a second alto sax (AATB); a few professional saxophone quartets have featured non-standard instrumentation, such as [[James Fei]]'s Alto Quartet<ref>{{cite web|url=http://music.columbia.edu/~jamesfei/organizedsound/os4-AltoQuartets.html |title=James Fei: DVD |access-date=2007-05-07 |url-status=dead |archive-url=https://web.archive.org/web/20061217171532/http://music.columbia.edu/~jamesfei/organizedsound/os4-AltoQuartets.html |archive-date=2006-12-17 }}</ref> (four altos).

There is a repertoire of classical compositions and arrangements for the [[SATB]] instrumentation dating back to the nineteenth century, particularly by French composers who knew Sax. However, the largest body of chamber works for saxophone are from the modern era of classical saxophone initiated by [[Marcel Mule]] in 1928.  [[Sigurd Raschèr]] followed as a soloist in orchestral works, starting in 1931, and also figured prominently in development of modern classical saxophone repertoire.  The Mule quartet is often considered the prototype for quartets due to the level of virtuosity demonstrated by its members and its central role in the development of modern quartet repertoire. However, organized quartets existed before Mule's ensemble, the prime example being the quartet headed by Edward A. Lefebre (1834–1911), which was a subset of [[Patrick Gilmore]]'s 22nd Regiment band between 1873 and 1893.<ref name="Noyes, Chapter IV"/>

In the 20th and 21st centuries, the saxophone found increased popularity in symphony orchestras. The instrument has also been used in opera and choral music. Musical theatre scores also can include parts for saxophone, sometimes doubling another woodwind or brass instrument.

====Selected works of the repertoire====
{{Main|List of concert works for saxophone}}
{{div col}}
* ''Fantasie sur un thème original'' (1860)—[[Jules Demersseman]]
* [[Rhapsodie for saxophone and orchestra|Rapsodie pour orchestre et saxophone]] (1901)—[[Claude Debussy]]
* ''Légende'', symphonic suite for chromatic harp, alto saxophone and strings (1903)–[[André Caplet]]<ref name=cottrell/>
* ''Choral varié, Op.55'' (1903)—[[Vincent d'Indy]]
* ''Impressions d'automne'', Elegy for alto saxophone, oboe, 2 clarinets, basson, harp, organ and 2 cellos (1905)–[[André Caplet]]<ref name=cottrell>{{cite book | access-date = 5 November 2022 | url = https://books.google.com/books?id=FOGePkUyKPAC&pg=RA2-PT242 | title = The Saxophone | first = Stephen |last=Cottrell | date =2013 | publisher = Yale University Press | isbn=978-0300190953 }}</ref>
* ''Légende, Op.66'' (1918)—[[Florent Schmitt]]
* Saxophone Concerto (1934)—[[Lars-Erik Larsson]]
* [[Saxophone Concerto (Glazunov)|Concerto in E{{music|b}} major for alto saxophone and orchestra]] (1934)<br />—[[Alexander Glazunov]]
* ''[[Concertino da camera (Ibert)|Concertino da camera]]'' (1935)—[[Jacques Ibert]]
* ''Aria pour saxophone alto'' (1936)—[[Eugène Bozza]]
* Sonata for alto saxophone and piano (1937)—[[Bernhard Heiden]]
* ''Scaramouche'' for alto saxophone and piano (1937)—[[Darius Milhaud]]
* Ballade for Alto Saxophone (1938)—[[Henri Tomasi]]
* Sonata for alto saxophone and piano, Op. 19 (1939)—[[Paul Creston]]
* Sonata for alto saxophone and piano (1943)—[[Paul Hindemith]]
* Concerto for alto saxophone and orchestra, Op. 26 (1944)—Paul Creston
* Concerto for alto saxophone and orchestra (1948)—[[Ingolf Dahl]]
* [[Fantasia for saxophone, three horns, and strings]] (1948)—[[Heitor Villa-Lobos]]
* Concerto for alto saxophone and orchestra (1949)—[[Henri Tomasi]]
* ''[[Tableaux de Provence]]'' (1955)—[[Paule Maurice]]
* ''Prélude, cadence et finale'' (1956)—[[Alfred Desenclos]]
* Saxophone Concerto (1958)—[[Erland von Koch]]
* Concerto for alto saxophone and orchestra (1959)—[[Pierre Max Dubois]]
* ''Élégie et rondeau pour saxophone alto et orchestre'' (1961)—[[Karel Husa]]
* Sonata for alto saxophone (1970)—[[Edison Denisov]]
* Sonata for alto saxophone and piano, Op. 29 (1970)—[[Robert Muczynski]]
* ''[[Fantasia on Auld Lang Syne]]'' for 16 saxophones (1976)—[[Ernest Tomlinson]]
* [[Panic (Birtwistle)|Panic]] for alto saxophone, jazz drum kit, winds and percussion (1995)—[[Harrison Birtwistle]]
* Concerto for Saxophone Quartet (1995)—[[Philip Glass]]<ref>{{cite web|website=Music.indiana.edu|title=Recommended Saxophone Repertoire Alto Saxophone Level III|url=http://music.indiana.edu/departments/academic/woodwinds/files/saxophone/alto-sax-level3-rep.pdf}}</ref><ref>{{cite web|first=Steven |last=Mauk |url=http://www.ithaca.edu/faculty/mauk/repertoire.html |title=Selected Repertoire |publisher=Ithaca.edu |access-date=2014-05-19}}</ref>
* Because It Has a Song (2010) - James Barger
* Concerto for Alto Saxophone and Orchestra (2013)—[[John Adams (composer)|John Adams]]
{{div col end}}

====Selected saxophone quartets====
{{div col}}
* Premier Quatuor [Quartet No. 1], Op. 53 (1857) — [[Jean-Baptiste Singelée]]
* Quartette [Quartet] (1879) — Caryl Florio
* Saxophone Quartet in B{{Music|flat}}, Op.109 (1932) — [[Alexander Glazunov]]
* ''Introduction et variations sur une ronde populaire'' (1934) — [[Gabriel Pierné]]
* ''Andante et Scherzo'' for saxophone quartet (1938) — [[Eugène Bozza]]
* Variations Saxophoniques (1939) – [[Fernande Decruck]]
* Quatuor pour Saxophones [Quartet for Saxophones], Op. 102 (1939)<br />— [[Florent Schmitt]]
* Quatuor pour Saxophones [Quartet for Saxophones] (1956)<br />— [[Pierre Max Dubois]]
* Quatuor [Quartet] (1962) — [[Alfred Desenclos]]
* Suite for Saxophone Quartet (1979) — [[Paul Creston]]
* Just for Show (1985) — [[Lennie Niehaus]]
* Pollywog's Lake Talk (1986) — Barry Ulman
* ''XAS'' (1987) — [[Iannis Xenakis]]
* Back Burner (1989) — [[Frank Ticheli]]
* Recitation Book (2006) — [[David Maslanka]]
* Strange Humors (2008) — [[John Mackey (composer)]]
* Black (2012) — [[Marc Mellits]]
* Polar Vortex (2014) — Chris Evan Hass
* In Memoriam (2015) — Joel Love
* Volcanic Ash (2017) — Chris Evan Hass
* Altera (2017) — Max Gray
* Impressions (2020) — Randy Stagich
{{div col end}}

====Selected chamber-music pieces with saxophone====
{{div col}}
* [[Nonet (Villa-Lobos)|Nonet]] (1923) – [[Heitor Villa-Lobos]]
* ''[[Chôros No. 7]]'' (1924) – Heitor Villa-Lobos
* ''[[Chôros No. 3]]'' (1925) – Heitor Villa-Lobos
* Quartet for clarinet, tenor saxophone, violin, and piano, Op. 22 (1930)<br />– [[Anton Webern]]
* ''The Flowering Peach'', Op. 125, for clarinet, saxophone, percussion (timpani, tam-tam, vibraphone, glockenspiel), harp and celesta (1954)<br />– [[Alan Hovhaness]]
* ''Prometheus'' for flute, oboe, cor anglais, clarinet, saxophone, and bassoon (1967) – [[Brian Ferneyhough]]
* ''[[Klang (Stockhausen)#Twelfth Hour: Erwachen|Erwachen]]'', Nr. 92 (2007) – [[Karlheinz Stockhausen]]
{{div col end}}

====Selected orchestral pieces with saxophones====
{{div col}}
* ''[[L'Arlésienne (Bizet)|L'Arlésienne]]'' (1872) – [[Georges Bizet]]
* ''[[Sylvia (ballet)|Sylvia]]'' (1876) – [[Léo Delibes]]
* ''[[Symphonia Domestica]]'' (1904) – [[Richard Strauss]]
* ''[[The Wooden Prince]]'' (1917) – [[Béla Bartók]]
* ''[[Pictures at an Exhibition]]'' (1922 Ravel version)<br />– [[Modest Mussorgsky]]/Maurice Ravel
* ''[[Boléro]]'' (1928) – [[Maurice Ravel]]
* ''[[La création du monde]]'' (1923) – [[Darius Milhaud]]
* [[Symphony No. 4 (Ives)|Symphony No. 4]] (1924) – [[Charles Ives]]
* ''[[Rhapsody in Blue]]'' (1924) – [[George Gershwin]]
* ''[[Chôros No. 8]]'' (1925) – Heitor Villa-Lobos
* ''[[Háry János]]'' (1926) – [[Zoltán Kodály]]
* ''[[Chôros No. 10]]'' (1926) – Heitor Villa-Lobos 
* [[Piano Concerto (Copland)|Piano Concerto]] (1926) – [[Aaron Copland]]
* ''[[An American in Paris]]'' (1928) – George Gershwin
* [[Symphony for Organ and Orchestra (Copland)|Symphony No. 1]] (1928) – Aaron Copland
* ''[[Der Wein]]'' (1929) – Alban Berg
* ''[[The Golden Age (Shostakovich)|The Golden Age]]'' (1930) – [[Dmitri Shostakovich]]
* ''[[Belshazzar's Feast (Walton)|Belshazzar's Feast]]'' (1931) – [[William Walton]]
* ''[[Job: A Masque for Dancing]]'' (1931) – [[Ralph Vaughan Williams]]
* [[Suite for Jazz Orchestra No. 1 (Shostakovich)|Suite No. 1]] (1931) – Dmitri Shostakovich
* ''[[Uirapuru (Villa-Lobos)|Uirapuru]]'' (1934) – Heitor Villa-Lobos
* ''[[Lieutenant Kijé (Prokofiev)|Lieutenant Kijé]]'' (1934) – [[Sergei Prokofiev]]
* [[Violin Concerto (Berg)|Violin Concerto]] (1935) – [[Alban Berg]]
* [[Suite for Jazz Orchestra No. 2 (Shostakovich)|Suite No. 2]] (1938) – Dmitri Shostakovich
* ''[[Romeo and Juliet (Prokofiev)|Romeo and Juliet]]'' (1938) – Sergei Prokofiev
* ''[[Alexander Nevsky (Prokofiev)|Alexander Nevsky]]'' (1938) – Sergei Prokofiev
* ''[[Symphonic Dances (Rachmaninoff)|Symphonic Dances]]'' (1940) – [[Sergei Rachmaninoff]]
* ''[[Sinfonia da Requiem]]'' (1940) – [[Benjamin Britten]]
* ''[[Chôros No. 11]]'' (1928–41) – Heitor Villa-Lobos
* ''[[Chôros No. 6]]'' (1925–42) – Heitor Villa-Lobos
* ''[[Chôros No. 12]]'' (1925–45) – Heitor Villa-Lobos
* [[Symphony No. 6 (Vaughan Williams)|Symphony No. 6]] (1947) – Ralph Vaughan Williams
* ''[[On the Waterfront]]'' (1954) – [[Leonard Bernstein]]
* [[Symphony No. 9 (Vaughan Williams)|Symphony No. 9]] (1957) – Ralph Vaughan Williams
* ''[[Suite for Variety Orchestra (Shostakovich)|Suite for Variety Orchestra]]'' (post-1956) – Dmitri Shostakovich
* ''[[The Prince of the Pagodas]]'' (1957) – Benjamin Britten
* ''[[Gruppen]]'' (1955–57) – Karlheinz Stockhausen
* ''[[Carré (Stockhausen)|Carré]]'' (1959–60) – Karlheinz Stockhausen
* ''Déclarations d'orage'' for reciter, soprano, baritone, three improvising instruments (alto saxophone, tuba, synthesizer), large orchestra and tape (1988–89) – [[Henri Pousseur]]
* ''[[City Noir]]'' (2009) – [[John Adams (composer)|John Adams]]
{{div col end}}

====Selected operas and musicals with saxophones====
{{div col}}
* ''[[Le roi de Lahore|Le Roi de Lahore]]'' (1877) [[Jules Massenet]]
* ''[[Hérodiade]]'' (1881) – Jules Massenet
* ''[[Werther]]'' (1892) – Jules Massenet
* ''[[Turandot]]'' (1926) – [[Giacomo Puccini]]
* ''[[Jonny spielt auf]]'' (1927) – [[Ernst Krenek]]
* ''[[Neues vom Tage]]'' (1929) – [[Paul Hindemith]]
* ''[[Lulu (opera)|Lulu]]'' (1937) – Alban Berg
* ''[[Billy Budd (opera)|Billy Budd]]'' (1951) – Benjamin Britten
* ''[[West Side Story]]'' (1957) – Leonard Bernstein
* ''[[We Come to the River]]'' (1976) – [[Hans Werner Henze]]
* ''[[Samstag aus Licht]]'' (1984) – Karlheinz Stockhausen
* ''[[Nixon in China]]'' (1987) – John Adams
{{div col end}}

===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}}