Vocals. Guitar. Bass. Drums. The essential elements of rock ‘n roll. But there are so often other instruments included in the musical mix, as well. Among those special spices added to the recipe of rock is the sound of the saxophone.
Here are a (very) few prominent performances in which the sax etched something special and enduring into a track.
“Charlie Brown” (1959)
The rousing romp “Charlie Brown” by the Coasters cruised to the second spot on the charts in 1959. Sax master King Curtis royally delivers these rapid-fire riffs of tenor sax. The talented Texan’s bouncy bursts are as infectious as the harmony of the fabled four-man R&B group.
“The Low Spark Of High Heeled Boys” (1971)
Chris Wood was a founding member of the ground-breaking group Traffic. In 1971, Wood and fellow musicians Steve Winwood and Jim Capaldi teamed together on the epic “The Low Spark Of High-Heeled Boys.” Much of the mesmerizing 11 minutes and 44 seconds of this track is punctuated by the tenor sax virtuosity of Wood.
It adds an air of eeriness to Wood’s death twelve years later following years of alcohol and drug abuse; he was only 39.
“Whatever Gets You Through The Night” (1974)
Legendary saxophonist Bobby Keys blew his horn alongside some of the greatest rockers of all time, including The Rolling Stones, Lynyrd Skynyrd and Eric Clapton. Perhaps his most indelible popular performance was the incendiary wailing he brought to John Lennon’s’ 1974 #1 smash hit “Whatever Gets You Through The Night” (with Elton John).
Never has one extended note been so hellaciously hot as the one Keys crafts near the conclusion of this rollicking rampage.
“Born to Run” (1975)
Arguably the most famous and important saxman in rock history is the one they call “The Big Man,” Clarence Clemons. A vital component of Bruce Springsteen’s E Street Band since its inception, Clemons’ contributions were a force fueling a whole host of classic compositions by “The Boss.”
CC’s eruption mid-way through the Top 5 chartbuster “Born to Run” is a paean to the perpetual rebelliousness of youth.
It blows the doors off of almost any electric guitar solo ever.
“Turn the Page” (Live, 1976)
“Turn the Page” is Bob Seger’s aching ode to the lonely life on the road. Released as a studio cut by his Silver Bullet Band in 1973, it was the moving 1976 Live Bullet rendition that made a lasting mark. It’s hard to summon more melancholy moments of any song than those manufactured by sax ace Alto Reed.
Reed’s plaintive playing serves stark notice that rock n’ roll ain’t for those faint of heart.
“Song on the Radio” (1979)
Al Stewart’s “Song on the Radio” cracked the Top 30 in 1979, thanks in no small part to the wailing sax work of Phil Kenzie. Kenzie’s first formal band, The Pressmen, shared early stage bills with another group of Liverpudlian lads of the day: The Beatles.
The lively sound leaping from this respected sax maestro (Kenzie played on nearly 20 albums certified as either gold or platinum) makes this a time-tested track on playlists of road trippers everywhere.
“Same Old Lang Syne” (1981)
Michael Brecker, alongside brother Randy (an original member of Blood, Sweat & Tears), was one half of the cutting-edge jazz fusion duo, The Brecker Brothers.
Mike’s pensive, remarkably emotive sax work on the Dan Fogelberg semi-autobiographical love song “Same Old Lang Syne” serves as a heartrending reminder that love is fraught with ups … and downs.
-John Smistad
Photo: Clarence Clemons, 2009 (Jamison Foser via Wikimedia Commons)
Great piece. But you don’t have to be Sherlock Holmes to deduce that you have left out what is often referred to as “the most famous sax solo of all time” – Raphael Ravenscroft’s on Gerry Rafferty’s “Baker Street.” Also, sadly, past tense should be employed when referring to the great Michael Brecker, who passed in 2007.
Thanks, MH. TREMENDOUS selection and performance. Alas, “a (very) few prominent performances…”
Agreed. Ravenscroft on anything, especially “Baker Street” and Pink Floyd’s “The Gunner’s Dream.” Just amazing.
Just a few more: Tequila, Us and Them, Money, Shine On You Crazy Diamond.
Oh yeah. Great calls all, sir.
I will excuse the absence of Richie Cannata from this piece because he deserves an entire article to himself! (Full disclosure: honored and privileged to consider Rico a colleague and friend for 20+ years.)
Good choices, all. When I think of the sax in rock and roll, my thoughts go to one of the earlier examples, the Dave Clark 5. While there are no standout solos in their songs, there is the ongoing underpinning of the sax in each of them.