Andrew Bird wins the award for coolest person who has a Substack Newsletter.

Here he is writing in accompaniment to The Andrew Bird Jazz Trio – Live at the Green Mill:

For the last 20 years, I’ve tried to play my violin like a tenor sax. Instead of choppy articulation, I go for a fluid phrase that a lung full of air could create. The pressure of the bow on the string is like forcing air through the reed, pushing that threshold between a full tone and noise. Lester Young is my guy, as are Coleman Hawkins, Ben Webster, and Don Byas. I favored the 5-string violin while recording Sunday Morning Put-On, as it got me closer to that tenor sax sound. The low C string has the richness of a tenor, and you have to move more air to get it going, sometimes producing that skronk that is too strident on the higher strings.

Funnily enough, when I play sax, I often times have the sound of a violin in my head. Joshua Bell played on repeat for me as I studied phrasing and buoyancy.

This isn't uncommon. No matter the instrument, I've talked to musicians who have moments of trying to imitate another in their tone and timbre for certain moods. Euphoniums imitating a cellist, clarinetists imitating flutes, a sax section imitating electric guitar, etc.

It seems like Andrew Bird and I were both aiming for the same fluidity and warmth of sound, just with different reference points. Maybe there's a mystical instrument in the middle of the two, yet to be invented, that has the best of both.