SAXES
It's taken many years, and I've put quite a lot of time and effort into getting solid saxes that perform reliably and have the tonal characteristics I want. At least 3 out of 4 of these are truly lifetime horns that I will never replace.
I try to maintain two setups for each horn -- one for classical and one for jazz. My jazz tone is relatively warm and free of edge (well, except for bari). When I need to play pop/rock/R&B I use the jazz mouthpieces but I switch to a slightly softer reed. That in combination with embouchure changes gives me plenty of bite to the sound.
I try to maintain two setups for each horn -- one for classical and one for jazz. My jazz tone is relatively warm and free of edge (well, except for bari). When I need to play pop/rock/R&B I use the jazz mouthpieces but I switch to a slightly softer reed. That in combination with embouchure changes gives me plenty of bite to the sound.
Tenor
Keilwerth SX-90R, c. 1996. This is the "rolled" tone hole model, with clear lacquer over bright nickel plating, (except the keys, which are clear lacquer over the brass). I got to select this horn from about 15 new ones. Really love the way this horn plays -- rich and full all over the horn, and very free-blowing. For classical, my mouthpiece is an old Buescher #2 with #4 Vandoren blue box reeds. For jazz the mouthpiece is a Morgan "Excalibur" 6M ("ML" chamber). I play V-16 #4's for a brighter sound, or if it's a quiet gig, I'll use #5's for a little smoother, warmer sound.
Bari
Conn 12M, c. 1950. Silver plate, straight tone holes, low B-flat. I love this horn for the big tone. Sometimes the keywork presents a challenge though, especially in the left pinky. For classical I play an old metal Master Link with a HUGE chamber and Rico brown box 3.5 reeds. For jazz I use a Bari metal (it's a copy of a Berg I think) instead. This small-chambered piece is really a mismatch for this horn, so I really have to work hard to keep it in tune. I'm searching for something that's not so intense for jazz and big band work.
Alto
Conn "New Wonder", c. 1928. Silver plate, rolled tone holes. Hoping to get this horn fitted with an articulated G# soon. For most jazz I play an old rubber Master Link with slant signature and a banded shank, using old Rico brown box reeds (#3 for brighter sound, #3.5's for less edge). My classical piece is an old Buescher with Rico brown box #3's.
Soprano
Cannonball Big Bell Global (model SC1), c. 2001. Curved soprano, lacquered brass. Another ebay find, I got this used (but like new) for $1k, and I'm very pleased with it. Recently picked up a really nice sweet-sounding piece from John Thomas in Jacksonville, FL. Highly recommended; very reed friendly. He said to use a 3.5 Java reed, which works great, but it also works great with old brown box Rico 3-3.5 or Rico Jazz Select. Previous piece was a Bari .64 in hard rubber, but it's just too intense on this horn. I'm thinking about having this piece converted for classical playing -- enlarging the chamber and getting the tip closed down to about a 55.
Keilwerth SX-90R, c. 1996. This is the "rolled" tone hole model, with clear lacquer over bright nickel plating, (except the keys, which are clear lacquer over the brass). I got to select this horn from about 15 new ones. Really love the way this horn plays -- rich and full all over the horn, and very free-blowing. For classical, my mouthpiece is an old Buescher #2 with #4 Vandoren blue box reeds. For jazz the mouthpiece is a Morgan "Excalibur" 6M ("ML" chamber). I play V-16 #4's for a brighter sound, or if it's a quiet gig, I'll use #5's for a little smoother, warmer sound.
Bari
Conn 12M, c. 1950. Silver plate, straight tone holes, low B-flat. I love this horn for the big tone. Sometimes the keywork presents a challenge though, especially in the left pinky. For classical I play an old metal Master Link with a HUGE chamber and Rico brown box 3.5 reeds. For jazz I use a Bari metal (it's a copy of a Berg I think) instead. This small-chambered piece is really a mismatch for this horn, so I really have to work hard to keep it in tune. I'm searching for something that's not so intense for jazz and big band work.
Alto
Conn "New Wonder", c. 1928. Silver plate, rolled tone holes. Hoping to get this horn fitted with an articulated G# soon. For most jazz I play an old rubber Master Link with slant signature and a banded shank, using old Rico brown box reeds (#3 for brighter sound, #3.5's for less edge). My classical piece is an old Buescher with Rico brown box #3's.
Soprano
Cannonball Big Bell Global (model SC1), c. 2001. Curved soprano, lacquered brass. Another ebay find, I got this used (but like new) for $1k, and I'm very pleased with it. Recently picked up a really nice sweet-sounding piece from John Thomas in Jacksonville, FL. Highly recommended; very reed friendly. He said to use a 3.5 Java reed, which works great, but it also works great with old brown box Rico 3-3.5 or Rico Jazz Select. Previous piece was a Bari .64 in hard rubber, but it's just too intense on this horn. I'm thinking about having this piece converted for classical playing -- enlarging the chamber and getting the tip closed down to about a 55.
