Vibrato instruction is pretty complex. If left to ourselves, we come up with tons of ways of producing a "vibrato-like" sound, many harmful over time. Also, saxophone converts, those of us who play(ed) other instruments and now play sax, naturally want to apply vibrato techniques from other instruments to the saxophone. The direct application of vibrato techniques from other instruments can also be more harmful than artful.
As an ex trumpet player, I was taught 3 ways to vibrato on the trumpet alone.
Diaphragm -- early cornet style vibrato often used diaphragmatic vibrato.
Lip -- Creates a heavier, jazz oriented vibrato
Hand -- a more controlled, less intrusive to the airstream vibrato approach
Applying any of those techniques to the saxophone would be pretty detrimental to, well, just about everything. Imagine using a hand vibrato on saxophone :-) The reasoning behind specific vibrato techniques however, can be similar. For instance the hand vibrato for the trumpet, the technique I ultimately found home in my tool box, is used so the air stream and embouchure details can remain consistent and unchanged. This allows for a good sound first with a vibrato added for warm and expression on top. That principle is the basis for the jaw vibrato on the sax. The jaw vibrato allows for a consistent airstream and embouchure. The end result is a good saxophone sound with vibrato added for flavor.
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