It really doesn't take much to get into the pitch bend thing... to be honest, I find simply LISTENING to whatever you want to emulate for enough time, and you will quickly develop an ear for when you are getting it right.

Quite a while back I posted a live version of 'How Sweet It Is (to be loved by you)' at Roland-arranger.com that has a played sax solo http://www.roland-arranger.com/smf/index.php?topic=845.0 (sax solo is at about 2:00 in). It's not my BEST work (just a live take) but maybe you get the gist from it...

The trick really is to not exaggerate.... Tiny little scoops and bends go a LOT further than big dramatic ones, and learning WHERE they are best placed is most of the difficulty. Again, simply listening to sax players is the answer.

BTW, I do NOT encourage you to switch to monophonic mode. Unfortunately, other than SA sounds (and even they are tricky to get phrased right), monophonic mode quickly makes you sound more like a synth or kazoo than a sax, as you end up with only the short, looped section of the waveform playing for entire notes. Careful attention to legato technique is what makes the difference..

I have a tendency to edit any horn sounds that don't stop quite quickly on note-up (you'd be surprised at how long some of the releases are) so that my playing alone determines the note-off point. Then just practice playing a line all the way from detaché to smooth, smooth legato, and all points in between. Just be SURE to never let the end of the note overlap the beginning of the next one...

For you, chas, pretend you are playing with the short Hammond percussion ONLY (no drawbars out). You KNOW how critical that staccato/legato thing is there, as it completely determines whether the note you play sounds at all! Overlap two notes, and the second doesn't sound at all... It's about that critical on a sax sound (or any wind instrument).

Another thing to try for horn sounds is, if you are going to use aftertouch for vibrato, and your arranger can do it, program LFO SPEED as well as depth to increase with pressure, then program the LFO to be a little bit too slow at the lowest pressure setting, and just about right, or even a hair fast at highest pressure. Subtlety is the key, you only want it so you only JUST notice it, but a regular unchanging vibrato rate is once again a dead giveaway that it's a keyboard. Some can do the same trick with the modulation lever, too (I'm pretty sure all the Korg's can).

The main point is to f*ck things up a bit... sax players are ANYTHING but machine perfect , and anything you can do to throw in a bit of change into the sound goes a LONG way...

Hope this encourages some of us to give the LH chord recognition a rest (make an SMF of the accompaniment, if you like), and use your LH for something expressive...