Seth Kibel is one of the Mid-Atlantic region's premier saxophonists. His latest release, on Azalea City Recordings, is "The Great Pretender." On his first solo album, The Great Pretender, tenor saxophonist Seth Kibel brings his raucous, blues-drenched sound to 10 songs with support from some of the most skilled artists in the Mid-Atlantic and beyond. Adding their talents to two of Seth’s original tunes and eight of his creative arrangements are European blues star Eugene “Hideaway” Bridges, boogie-woogie pianist Daryl Davis, blues diva Melanie Mason, D.C. guitar legend Dave Chappell, jazz pianist Sean Lane, rocker Billy Coulter, dobro-ist Dave Giegerich, bassist Sam Goodall, and drummers Mark Lucas and Joe Wells. The covers include dramatic re-interpretations of songs by Bob Dylan, Tom Waits, Duke Ellington and The Kinks. '
The album’s blues and roots rock sounds represent a new approach for the versatile performer and composer, known for his jazz and klezmer music and his leadership of the award-winning “alternative klezmer” band The Alexandria Kleztet. Seth has won 11 Washington Area Music Association Awards (Wammies) including Best Jazz Instrumentalist and Best World Music Instrumentalist.
Seth began his career as a full-time professional musician in 1996, when he moved to the Washington/Baltimore area following his graduation from Cornell University with a double major in Music and American Studies. Since that time, he has been in demand as a sideman and as a bandleader performing in such diverse genres as jazz, rock, blues, swing, klezmer, dixieland, and classical music.
Seth began his professional klezmer career in 1993 with Cayuga Klezmer Revival, upstate New York’s premier klezmer band. Their CD, Klezmology, is still sold nationally. Seth is currently the leader, clarinetist, and composer for The Alexandria Kleztet, an “alternative” klezmer band he founded in the Baltimore/Washington area. The band’s three albums, Y2Klezmer (1999), Delusions of Klezmer (2002), and Close Enough for Klezmer (2005) are all available internationally. All three albums received the Washington Area Music Association’s (WAMA) award for Best World Music Recording following their release. The Alexandria Kleztet was named "Best World Music Duo or Group" by WAMA for 2003, 2004, and 2006. Seth also received individual awards for "Best World Music Instrumentalist" in 2003, 2004, 2005, and 2006, and was named "Best Jazz Instrumentalist" for 2005.
In addition to his activities with the Kleztet, Seth has fronted a variety of swing and jazz groups, including Corner Pocket, Air Mail Special, The Bay Jazz Project, and Seth Kibel’s Dixieland All-Stars. In 2002, he was commissioned to write, perform, and record an original score for Dreams in the Golden Country, an original theatrical production at the Kennedy Center in Washington, DC. In January 2004, he released his first jazz CD, a joint album with violinist Susan Jones entitled Nuts and Bolts. And in late 2004, he produced A Chanukah Feast, an album for the DC-based charity Hungry for Music featuring both regional and national artists. In 2005, he was the recipient of an "ASCAPlus" grant, as well as a Silver Prize (2nd place) winner in the Mid-Atlantic Song Contest, in the "jazz/blues/instrumental" division. In summer 2007, he released The Great Pretender, his first solo record for Azalea City Recordings. On the album, Seth brings his raucous, blues-drenched sound to 10 songs with support from some of the most skilled artists in the Mid-Atlantic and beyond. Seth has performed with such notables as Sam Moore (Sam & Dave), Percy Sledge, The Coasters, and Johnnie Johnson. Additionally, he has appeared with many notable groups in the Baltimore/Washington area, including The Daryl Davis Band, Project Natale, Christian Josi, The Tom Cunningham Orchestra, The VanDangos, and The Hot Kugel Klezmer Band, just to name a few. He has performed at the Kennedy Center, the Carter Barron Amphitheatre, the Lowell Folk Festival in Lowell, Massachusetts, as well as on several European tours.
Seth can be heard on recent CD releases by the Skyla Burrell Blues Band, the Swing States Road Show, folksinger John Simon, The Civil Air Patrol Band, American Song, The Hot Kugel Klezmer Band, guitarist David Kitchen, boogie-woogie pianist Daryl Davis, blues guitarist Eugene “Hideaway” Bridges, jazz vocalist Esther Haynes, and flamenco guitarist Gerard Moreno. Since 2002, he has been on the faculty of the ElderHostel program at the Peabody Conservatory in Baltimore. He has also lectured extensively on klezmer, jazz, swing, the big band era, and other related musical topics at Peabody, Goucher College, and elsewhere.
Seth's primary instruments are the clarinet, saxophone (alto, tenor, and baritone), and flute. He has, however, been known to make some noise on harmonica, recorder, guitar, piano, and accordion. In his eight years as a professional musician, Seth has performed for numerous private affairs, such as receptions, weddings, and Bar/Bat Mitzvahs, all across the country. Whatever your affair, Seth will work with you to put together the right ensemble. References available upon request.
Tonguing on the Saxophone
Expert Sax player Seth Kibel explains the correct method for tonguing while playing a saxophone.
Another quick digression, one of the problems we have been having so far with the saxophone and you have probably encountered is the way the notes start. Let me explain; when you play an instrument like the piano or how about the guitar, right here; there is a precise instant the note starts. When I take my pick and play a note on the guitar, you can hear the exact instant that note begins, where you go from silence to musical tone. Now, we have not had that so far with the saxophone because what you have been using is what is commonly called as a breathe attack. You have been starting the note with your air, like this. If we have to put that in musical slow motion you would here a sound like, fwoa, fwoa, fwoa, fwoa. We do not want that. We want to have the same kind of precision you have with the guitar or a piano when the note starts. To do that we use a technique called Tonguing. It is a way of starting the note with your tongue. Now, I want you to something for me and this may seem kind of goofy at first but if no one is around or if you are at the office, just do it quietly. I want you to say the syllable TA; about five or six times TA, TA, TA. Now, tell me, what is your tongue doing to make that sound; to make that syllable? It is pushing off against the back of your top teeth.
Say it again, TA, TA, see, how your tongue is pushing off against the top of your back teeth? Well, that is what you want to do to the reed. Same thing, except instead of pushing against the top teeth, you are pushing against the reed. This is your tongue, here is the reed; TA, TA, TA. With the saxophone; see, how precise that attack is? Hear how you can hear the exact instant that note starts, that is because I am using tonguing to start the note. This can be a little tricky to get the hang of at first but if you think about saying the syllable TA while you are playing, you should be able to get it for too long. Now, you can use a hard tongue or a gentle tongue. As you practice and as you play the saxophone, you will be able to get that level of subtlety in the strength of your tongue. Alright, we will get some more notes momentarily.