How your no blowing makes the sound generated by your internal vibration deeper.
You Play Your Body
To ensure a clean and flawless emission, either fff or ppp – and without using the tongue edge for the first one ! -, you should precisely imagine the mouthpiece rim plugged to the sound source. Through your natural breathing, your exhaling extends your inhaling inwards and propagates your vibration down to the ground.
Thanks to his proprioceptive pictures, the music player drives his relaxation down to his sound center (i.e. his natural breathing center point) from where his internal vibration arises : from that point, his transverse abdominus pushes backwards the vibrating exhalation, ensuring then the full dynamics and the stability of the sound.
That was meant by Beniamino Gili when he used to drop his belly down to the ground in order to capture and maintain this feeling all along the emission of his sound, without disturbing the action of the diaphragm (see voice and breathing).
In other words, the voice of the musician must play his body’s resonance, without addressing it directly, so as to avoid parasite contractions.
The Artist Overlooks His Body
Forget about your body, and concentrate on your relaxed vibration flowing down to your heels (while you are standing up like the sax player, or being seated like the pianist) : the good sound then surges around. Localize your sound center point, and free your diaphragm so that you feel as sitting on it, then filling your sound with overtones.
warm air is stable
You sure must not blow, since the air is not to be pushed out, but you rather do sing internally and downwards, as Alfred Tomatis demonstrates it in The Ear And The Voice : the vibrating air is warm, and that can be felt by feeling the sax neck, which can even be considered as an evidence for your fat and lived-on sound quality.
Thanks to your downward letting-go accompanying your exhalation, your flexible triggering of your inner vibration propels rich vocal harmonics : you are then consuming very little air, which you can imagine like it were recycling within the body, at the diaphragm center.
kind of let your singing go down
Upstream from his instrument, e.g. the violin, the musician should sing downwards, the same way the singer behaves.
For a wind player, concentrating on his inner vibration is antagonistic to the action of blowing, which would trigger an outwards deconstructing effort : hence it is absolutely recommended not to blow, not even to want to do it !
By and large, driving your internal vibration appears as paramount for any musician, the violin player as well : you can achieve this control of your internal vibration and check it out by downwardly extending your attitude reached at the end of your natural inhaling, which enforces your anchoring in the ground.
From this point on, you feel the air column opening from the sound source down to your heels. The vibration radiates deep inside, like the recycled water jet gushing and feeding the basin center.
Do Not Blow It !
You should certainly not blow at this point, because you are already sitting on the air, with full confidence, and you readily play without any blowing noise disturbing the emitted sound : actually, either your tongue is not active, lying still in the back of your mouth, or it moves backwards from the mouthpiece rim to let the reed vibrate. There, you actually sing, using as little air as possible, and making out that actual playing implies no blowing : blowing is not playing, since playing is breathing (think about the French expression, “Souffler n’est pas jouer“), as Joe Allard used to say (see breathing and air).
And Charlie Parker used to mean that the saxophone should drive the horn player :