Saxual preferences

Since finishing the new book The Devil's Horn: The Story of the Saxophone, from Noisy Novelty to King of Cool" by Michael Segell last month I've been thinking about my favorite saxophonists. I decided I don't have one, except for Sonny Rollins, any more than I have a favorite jazz musician, except for Sonny Rollins. Too many great musicians playing too much great music to be absolute about favorites, except for Sonny Rollins.

But there are five sax players I have a special affinity for, guys I knew I would be listening to a lot of the first time I heard them. Here are some of their not-considered-seminal CDs that I, nonetheless, rate among their best.

Sonny Rollins (Surprise!), "Sonny Rollins +3," Milestone. Mr. Rollins is at his outside of the envelope-pushing best on "What a Difference a Day Made," "Mona Lisa," well, basically everything. I've always felt Stephen Scott was one of the more sympathetic pianists with whom he's recorded. I don't hear a moment wanting on this disk.

James Carter, "Conversin' with the Elders," Atlantic. J.C. trades kung fu with his musical heroes Lester Bowie, Harry "Sweets" Edison, Hamiet Bluiett, Buddy Tate and Detroit altoist Larry Smith. "Freereggaehibop" is one of my favorite jazz cuts and Carter and Bluiett locking baritone saxes on Coltrane's "Naima" is classic, but what's really cool is the run for his money Edison gives the kid on "Centerpiece."

Archie Shepp, "Passport to Paradise," WestWind. I bought this one at the Virgin Megastore on the Champs d'Elysées before I went to see him play in Paris. It's Archie doing Sidney Bechet tunes and his own bluesy tribute to the New Orleans soprano sax legend. This isn't the fiery free Archie Shepp of the '60s, but an older, more structured and bluesier version, which doesn't make his playing less interesting. I adore "My Man" with Shepp comping behind vocalist Michelle Wiley.

Coleman Hawkins, "Duke Ellington Meets Coleman Hawkins," Impulse!. The liner notes say Hawk just showed up with his horn, he and Duke talked over what to play and they did. Hey, it was Coleman Hawkins and Duke Ellington, along with Ellingtonian legends Johnny Hodges on alto sax and Harry Carney on baritone sax, among others. They needed to practice like I need to eat another pizza. Ellington spent his life getting stellar performances from musicians and I think he does so here. Hawkins sounds great and also sounds like he's having fun. "Limbo Jazz" is a hoot. Great Hawk solo on "Mood Indigo," too.

David Murray, "Murray's Steps," Black Saint. They said he was a return to the Rollins school when he arrived on the scene in the '70s, so maybe it's natural that he captured my ear. Some his his best work has been done using larger groups and this octet, which also has Henry Threadgill on alto sax, is an example. "Flowers for Albert," Murray's tribute to Albert Ayler, is right up there with "Freereggaehibop" on my favorite tunes list.