Some ace shots of Our Party In The City May 17th 2019 at The Arch..all black and white shots taken by www.simonarcherphotography.co.uk

Written by  on June 3, 2019

osc and rosy the one

Andy belfin 3

Kelvin,Dr D and Steve V

Ryan and Dave with Mark and Osc

Blowout Sax Mini Gig
Set List For MAY 17TH 2019.
SET 1 included Students playing tracks like ROCK FORT ROCK by The Skatalites
SWEET EMMA by Cannonball Adderley
TADOW by Masego
WILL YOU by Hazel O’Connor
NO MAN NO CRY by Jimmy Sax
Mark Knopfler Goin’ Home LOCAL HERO
BAKER STREET…Raf Ravenscroft Gerry Rafferty
and the SET 2 was a big and exciting jam on original House dance and reggae tracks which sounded fantastic live and in the moment.


Theo Wanne Mouthpiece

Written by  on June 8, 2017

One of my star students turned up with a Theo Wanne mouthpiece thing of physical and cerebal beauty
a IMG_0777.

New Saxophone shop Headwind Zetland Road Bristol

Written by  on May 5, 2017


Check out this superb shop with an excellent selection of saxs,mouthpieces and accessories.They are friendly and knowledgeable.
Say Mark Archer sent you and ask for Tom.

Next Blowout Sax Gig Summer 2017 May 12th Friday at Chapel Arts Centre

Written by  on April 20, 2017

Blowout Sax Summer Gig

ACE SHOT peter gunn with oli moore

@CHAPEL ARTS CENTRE Lower Borough Walls, Bath BA1 1QR. 7.45pm Start.
Tell your friends and do get Your Tickets early!! £10.

One of the things that sets Blowout Sax apart from other forms of instrumental tuition is the performance aspect.
At every Blowout gig there are in excess of 60 plus enthusiastic students showing off their new found skills in a very professionally organised performance. The backing band is always made up of top Bath and Bristol session musicians and the band is run by the incredible talent of top American sax man and long-time Blowout Sax stalwart Craig Crofton.
“Students will be playing pop, blues, soul, funk and some ska/reggae. It’s classic party tunes, basically, from One Step Beyond to Baker Street, Pink Panther to Your Latest Trick it’ll all be there ” says Mark. “We get a top class band with session musicians from Bristol. We’re giving people the experience of playing live; it gives learning a focus, a goal. This the 17th year of this gig and always been a sell out.

Visiting the hallowed plantation where Rico Reeds are grown-the ones I have blown for the past 30 plus years!!

Written by  on July 8, 2016

From a plaque big brother Simon saw in Hyeres lead us a couple years later to head for Hyeres.

We were met by a wonderful gregarious big in stature and character Le Monsieur Philppe Weichel the head of the Rico Reed Plantation.
He hailed from the Alsace spoke immaculate English with a self-deprecating sense of humour.
He started working in the wine industry and 8 years ago was brought in by D’addario to run this plantation and with that brought in a more organic approach.All rejected reeds some 2 to 20 percent of the crop are mashed and recycled by the roots of the rows and rows of bamboo cane.




This is part of the cultivation alongside Philppe’s addition from the wine world of some wild berry trees,then a lot of water,Cote D’azur magical sun and some mineral spray make this crop grow and grow.It has no Macbeth,nothing that can destroy it,it is resilent to any disease.



(All photos by Simon Archer www.simonarcherphotograpy.co.uk)

The timing of the harvest varies but often after a frost in November then the cane is stripped and those that make the grade are dried out in the hangers.
There is a continual re-evaluation process as the cane that is deemed to knotty are literally weeded out so not to contaminate the good cane.
Each cane has different properties.The thicker part at the top can be for baritone,the next part down tenor,then alto,soprano sax..
other canes are strictly depending on their width for baritone,tenor or even clarinet…
and how many reeds per cane?
I said hundred..the reality 10 to 12!!!
Once dry the good cane is cut by special one off machines indoors and the very best quality are sent to the USA to be branded into Rico,Rico Royale and all the other affliated brands.
Over a million reeds orginate from this plantation and another near the sea in Hyeres.
Thank you Philippe for an informative tour.
I shall never think of a reed in the same way.

He’s not forgot his roots he’seven growing some vines on site so Mr D’addario can have his own branded bottle of wine!

Lat week

3 Blowout Sax Students as the brass section in Indi-cision on stage Sunday.

Written by  on July 13, 2015



Three of Blowout Sax students current and old and now one once taught and now teaching at Blowout Sax played on Sunday on stage.

What a fabulous inspirational photo.

So Come to Blowout Sax to fulfil your dreams.

The Sax and A Wonderous Summer Sunset

Written by  on June 19, 2015


The late great Bobby Keys RIP Part 1

Written by  on December 4, 2014


Bobby Keys, a saxophonist and lifelong rock ‘n’ roller who played on recordings by Buddy Holly and John Lennon and performed one of the all-time blowout solos on the Rolling Stones’ “Brown Sugar,” has died at his home in Franklin, Tennessee. He was 70 years old.

Michael Webb, who played keyboard with Keys, said Keys died Tuesday after a lengthy illness.

Keys had been on tour with the Stones earlier this year before his health prevented him from performing.



“The Rolling Stones are devastated by the loss of their very dear friend and legendary saxophone player, Bobby Keys,” the band said in a statement. “Bobby made a unique musical contribution to the band since the 1960s. He will be greatly missed.”

Known for his heavy jowls and raw, raucous style, the Lubbock, Texas, native was born on the same day as Keith Richards — Dec. 18, 1943 — and the Stones guitarist would often cite Keys as a soul mate and favorite musician. Besides “Brown Sugar,” Keys also played memorable solos on such Stones favourites as the 7-minute jam the awesome solo on  “Can’t You Hear Me Knocking” and the country-styled “Sweet Virginia.”

Other career highlights included John Lennon’s chart-topping “Whatever Gets You Through the Night” and albums by Richards, George Harrison, Barbra Streisand and Eric Clapton.

“I have lost the largest pal in the world, and I can’t express the sense of sadness I feel, although Bobby would tell me to cheer up,” Richards said in a statement.

Keys’ career dated back to the 1950s, when as a teenager he played with fellow Lubbock native Holly and The Crickets. He met the Stones in the mid-’60s while they were on the same bill at a state fair in San Antonio, Texas, and was distraught that the British rockers had recorded a cover of Holly’s “Not Fade Away.”

“I said, ‘Hey, that was Buddy’s song,'” Keys recalled in Richards’ memoir “Life,” published in 2010. “Who are these pasty-faced, funny-talking, skinny-legged guys to come over here and cash in on Buddy’s song?”

But once Keys listened more closely, he decided the Stones were playing “actual rock and roll,” an opinion the Stones more than shared about Keys. He first recorded with them in the late 1960s and toured and recorded with them off and on over the following decades, his work featured on three of the group’s most acclaimed albums: “Let It Bleed,” ”Sticky Fingers” and “Exile on Main Street.”

In some ways, he was too close to Richards, developing a heroin addiction that led to his temporary estrangement from the group. But he was with them on every major tour over the past quarter century, dependably stepping up for his solo on “Brown Sugar.”

Keys’ memoir “Every Night’s a Saturday Night” was published in 2012, with a foreword by Richards. Keys recalled that he was first exposed to rock ‘n’ roll through Holly’s music — not on the radio, but at the grand opening of a Texas gas station near the home of Keys’ grandparents. It was the first time he had heard an electric guitar played live.

“And right then and there I knew I wanted to have something to do with that music,” Keys explained. Holly “just kinda lit a fuse that started burning then, and it’s still burning now.”