Rick Keller continues to explore and develop his musical voice. Both a sought after sideman and an artist, Rick is constantly composing and pursuing his own projects which define his commitment to creative expression. He has been inspired by music from many countries as a result of playing in concerts and recordings including such artists as Kofi Misiso, Trilok Gurtu, and countless other international musicians. The beauty of music internationally remains an inspiration for Rick to compose new music for a variety of instrumentation and styles.

Rick spent 17 years playing as a young saxophonist living in central Europe. His technical and advanced understanding of harmony resulted in an impressive list of credits with both live and recordings sessions. Some of the most notable musicians Rick has performed alongside include: Billy Cobham, Trilok Gurtu, Zakir Hussain, Al Porcino, Claudio Roditi, George Russel, Charlie Mariano, Bill Bruford, Natalie Cole and many more. Rick’s concert appearances include: North Sea Jazz Festival, Blue Note Tokyo, Bratislava Jazz Festival, Burghausen Jazz Festival, Expo 98 Lisbon, Leverkusen Jazz Festival, and Breslau Jazz Festival.

As a leader, Rick assembled certain musicians to perform his own personal style of music. Much of this music was heard at various venues including: Kiama Jazz Festival Australia, Canary Islands Jazz Festival, La Rochelle jazz festival, and The Basement Jazz Club Sydney.

Rick’s first CD release “One Take” celebrated musicians from around the globe. In 2001, Rick recorded “The Instigator” which is a CD that can be best described as colorful, highly emotional and progressive jazz. World class trumpeter Bobby Shew wrote the liner notes and said “Each tune is extremely unique in harmonic and rhythmic structure as well as lyricism. These tunes are all very challenging but the guys in the band really nail everything beautifully. This is a ‘PLAY MANY TIMES’ CD.”

In 2002, Rick made his U.S. debut in Los Angeles becoming acquainted with the L.A. jazz scene. Rick became apart of a deeply established community of some of the world’s finest musicians. Recent releases featuring Rick on Alto, Tenor, Soprano and flute include: Geoff Stradling “Less is Mo”, Chris Walden “Home of my heart Origin”, John Rangel “Morning Pages”, and Steve Huffsteter “Live at the Café 322.”

In addition, Rick realized that Los Angeles is the home of several world renowned big bands which became a part of his itinerary. He was the lead alto saxophonist with Bill Holman for 3 years and has been privileged to play with the big bands of Bobby Shew, Steve Huffsteter, Chris Walden, and Johnny Mandel.

For the past 7 years, Rick has played in a variety of live and recorded sessions and in 2009 began touring in South America with Christopher Cross. This new acoustic quartet helped Rick share his passion for lyrical pop style saxophone playing. Among some of the most notable pop/house recordings featured Rick’s inspired saxophone and flute playing on Morehouse records with the Groove Junkies.

Most recently, Rick has been a featured soloist with the Frankie Valli Band. The group tours extensively throughout the year and you can find Rick in major venues throughout the U.S., Australia, and the UK. The two new releases that feature Rick as a section player are: Shoshana Bean’s “O’Farrell Street” and Danny Seraphine’s (former Chicago drummer) band CTA release “Sacred Ground” (March 2013). The “Sacred Ground” C.D. features Rick’s horn orchestrations representing some of today’s most sophisticated and elaborate horn writing/performances in the pop genre.

Today, Rick is a dedicated educator and frequently teaches master classes at summer camps and schools along with individual instruction in the language of jazz. Having completed his performance degree at the famed University of Miami as well as some masters studies at New England conservatory of music, his teachers included: Ron Miller, Gary Campbell, George Garzone and Vince Maggio.

For more Info regarding Ricks latest schedule can be found at www.futuresax.com .

The Interview

Zach Sollitto: Why did you choose the saxophone?

Rick Keller: My parents made me play the accordion at age 4 and I did not dig it. I really wanted to play the piano but my parents could not afford a piano so my grandmother came over with an accordion and that’s what I started playing. I quit playing the accordion at 7 and started playing baseball. At Age 11, I realized I was not going to be a baseball star or Albert Einstein. I saw my friend playing the saxophone so I decided to pick one up.

My first saxophone was a Vito Special alto saxophone and the reason I continued to play was I was doing well and my teachers and peers recognized rapid progress and abilities. When it came time in high school to decide what I wanted to do, it was pretty simple because I was struggling in biology and math while music seemed natural. I was accepted into Ithaca College when I was 16 before I even finished high school, but decided to “attend” the University of Miami and study Jazz Performance headed by Whit Sidener. What I heard down at Miami was new and contemporary and I wanted to go after the new trend.

ZS: Who helped you progress as a saxophonist?

RK: I had really good teachers. When I started at Miami, I could not get jazz lessons so I started studying with a graduate assistant who focused on classical music. After studying with the classical grad assistant and just running through old material, I met Billy Ross, (one of Joe Allard’s students) who was the quintessential New York Player. Billy Ross told me I was doing it all wrong. Billy identified that I had a lot of embouchure issues because I never had a teacher that pointed it out. Billy Ross taught me the Joe Allard school of thought which many years later I found out was similar to the Larry Teal’s teachings.

The Joe Allard and Larry Teal embouchure method was never to put your lip over your teeth and that was the way I was taught before and have seen with some of my students. If you want to open up your sound and develop the correct embouchure, you just have to look at a picture of Charlie Parker, Phil Woods, Greg Osby, Chris Potter, Joel Frahm and see how they play the saxophone.

After Billy Ross, I had the opportunity to study with Gary Campbell for 2 years. Gary helped me open my ears and mind to symmetrical playing and I was very fortunate to study jazz composition with Ron Miller. Both Gary and Ron have shaped my approach to playing and writing.

ZS: Which sax players top your listening list?

RK: I listened to everybody, the legends as well as the newer cats. I listened to so much different music that’s not always centered around jazz. In regards to jazz though, I listen to Joel Frahm because I am really knocked out by his playing. In addition, about two weeks ago, I found a Chris Potter live solo and I posted it on Facebook as the reason why I practice. Potter was playing on one of Monk Tune’s “Work”, which was not one of Monk’s most notable tunes. Potter’s solo was so imaginative and this is the reason I practice, because I really am very conscious of playing the unexpected.

ZS: What material do you find yourself practicing the most these days?

RK: I always practice tunes (both standards and jazz heads old and new). I practice my 8th and 16th note phrasing as well as practicing playing in time. What is most important to me is playing across bar lines and poly-rhythmically in order to create dialog and interplay with the rhythm section. I will put on a CD metronome and will play a tune or a progression and try and explore rhythmical and harmonic ideas. In addition, I will sing rhythms to myself then deduce how they will be written out.

ZS: What would you say is the skill or attribute that’s helped you the most as a musician?

RK: I found that having an emotional attachment to the music really helps me develop my own personal approach as well as helping my technique. I focus on the technical aspects of playing in terms of getting riffs, articulation, and phrasing down but at the same time I am focused on playing the unexpected and having my own personal approach to the music.

ZS: What’s the single best piece of advice you’ve been given over the course of your playing career?

RK: Practice diligently with focus and purpose. Find a group that you enjoy playing with. Play music and rehearse as much as you can with the group and do it for the love and not always for the next gig. Playing with a great group that you are in sync with will help you stretch your ideas and make you a better player. I would set goals along with a timeline for achieving any given goal. Be patient and willing to put in the time so you can craft your own personal style. Finally, find a scene where you can play as much as possible, I feel there is a artistic push in New York City and can see the progressive movement of jazz in the city.

ZS: What’s the next musical frontier for you?

RK: Not at the brink of anything at the moment. I am just trying to find the time and capital to fund my next record that demonstrates my personal style and artistic intention.

ZS: What’s your saxophone equipment setup?

RK:

Mouthpieces:

• Tenor : Macsax Bob Sheppard Metal mouthpiece and a Selmer short shank refaced by Fred Rast.
• Alto: Macsax FJlll hard rubber mouthpiece.
• Soprano: Meyer 7M, Fred Rast custom re-facing.

Reeds:

(all Vandoren)

• Tenor: V16
• Alto: Java
• Soprano: Blue Box

Please check out the Reed Geek which I use extensively.
http://www.reedgeek.com

Horns:

Recently signed an endorsement with MACSAX horns at the 2013 NAMM show.

• Tenor: Selmer MarkVl 167xxx
• Alto: Selmer Mark Vl 87xxx
• Soprano: Julius Keilwerth SX90ll
• Flute: Trevor James Recital ll and a Jupiter Medici Alto flute

Selected Tracks by Rick

1) Not Meant to Be

2) Chill-Pill

3) Surge

To learn more about Rick, visit www.FutureSax.com

I have heard and seen these mouthpieces on Sax.co.uk and have seen players demoing these mouthpieces on YouTube and Alex’s website. Alex told me he makes a medium and large chamber hard rubber tenor and alto mouthpiece that is based on the old hard rubber Otto Link models for tenor and the N.Y. Meyers for alto.

He told me that he works on every mouthpiece so that each one is consistent from mouthpiece to mouthpiece. I am going to be reviewing a Marmaduke TL 7 for tenor, and a Marmaduke medium chamber 6 tip opening for alto.

Marmaduke Medium Chamber alto mouthpiece (6)

Sound

The sound of the Marmaduke alto is definitely similar to a N.Y. Meyer. I found the Marmaduke to be a not as warm sounding as my Meyer 6M, but the Marmaduke had much more of the punch and brightness that so many players look for in an alto mouthpiece. I was able to produce a bright edgy sound on my Selmer Super Balanced Action alto (SBA) without the sound becoming too shrill or thin. The Marmaduke was free-blowing but with a bit of resistance, and I found it to be more focused than my Meyer. Alex told me that when he was making this mouthpiece, he felt the sound was leaning towards Cannonball Adderley as well as Phil Woods.

Intonation

This mouthpiece was very consistent from low Bb to high F#. The overtones were easy to achieve and very little effort was needed to keep them in tune.

Build Quality

This mouthpiece is made out of pure hard rubber material. I found the work done to the mouthpiece to be of very high quality with the tips and rails being nicely evened out.

Overall

Of nearly all of the mouthpieces I have ever played, I believe that this one most closely resembles a N.Y. Meyer in the way it plays. Alex did a great job in recreating a very sought-after alto mouthpiece. I would highly recommend this mouthpiece to anyone looking for that classic N.Y. Meyer sound.

Sound Clips

Meyer 6M, SBA, Eddie Daniels Rovner ligature, Alexander Superial 3

Marmaduke 6M, SBA, Eddie Daniels Rovner ligature, Alexander Superial 3

Simon Casgrove testing the Marmaduke Alto mouthpiece:

Marmaduke TL (large chamber) (7)

Marmaduke TL (large chamber) (7)

Sound

I found the Marmaduke 7 TL to have a very neutral sound. The TL was very balanced from the low register all the way up to high F# and even into the altissimo range. I typically play on a 7 tip opening, but after playing on this mouthpiece, I believe I would try a 7*. I found this mouthpiece to be very similar to my slant Link in its overall sound, although the Marmaduke is a bit brighter. Alex told me that when he was making this mouthpiece, he felt the sound was leaning towards Stan Getz, Hank Mobley, and Joe Henderson.

Intonation

I found this mouthpiece very easy to keep in tune as well as play through my overtone exercises.

Build Quality

This tenor mouthpiece is just as well constructed and fine-polished as the alto mouthpiece.

Overall

This is a great straight ahead hard rubber mouthpiece. It is consistent, full-sounding, easy to keep in tune, and embodies many characteristics of some of the great hard rubber slant Otto Link’s and Early Babbitt mouthpieces. 

Sound Clips

Otto Link slant signature, Selmer Mark VI, Alexander Superial 3

Marmaduke 7 TL Large Chamber, Selmer Mark VI, Alexander Superial 3

Simon Casgrove testing the Marmaduke LG 7* Tenor Mouthpiece

Marmaduke main website:
http://members.jcom.home.ne.jp/marmaduke/Marmaduke%20Mouthpiece%20English.html

Lupifaro Reeds

Lupifaro Saxophone Reeds

While testing out the Marmaduke mouthpieces, Alex introduced me to a brand of reeds called Lupifaro. I had never heard of this brand of reeds before, but Alex told me these reeds are produced by Rigotti. I have played on Rigotti reeds for some time in addition to Vandoren, Alexander, Rico, and Roberto’s Winds. After checking out the website, I found out that there is a classic cut as well as a jazz cut.

The reeds that I was given to test out were the classic 2 1/2 and 3. I have always liked playing on Rigotti cane because of the consistency. I found the Lupifaro classic reeds to play very well. They reminded me of a Vandoren blue box or Rico Reserve cut. I found the Lupifaro 3 to be on the harder side so I tried the 2 1/2 and these felt much more comfortable for me to play on. Although these reeds are designed for the classical musician, I found the overall color of these reeds to be very neutral and not leaning towards the brighter or darker side.

I would like to try the jazz cut sometime soon and am looking for someone who distributes this brand of reeds. I currently do not know the price for a box of Lupifaro classic or jazz cut reeds, but if the Lupifaro’s are priced similarly to the Rigotti Gold’s, then they are a very high quality reed at a very competitive price. In addition to checking out the reeds, I would recommend looking into the saxophones that Lupifaro manufacturers and would be curious to get anyone’s feedback on those horns.

Lupifaro’s site:
http://www.lupifaro.com/reeds

If any questions regarding the Marmaduke mouthpieces or Lupifaro reeds, please contact Alex Mikayate.

Clockwise starting on the far-left: Stanley Turrentine, Don Byas, Johnny Griffin, Lucky Thompson, and Warne Marsh

We’re all raised on a steady diet of the tenor greats, of which there are many. So many of the movers and shakers of jazz played this horn, people like Coleman Hawkins, Lester Young, Ben Webster, Dexter Gordon, John Coltrane, Sonny Rollins, Stan Getz, and Wayne Shorter, continuing into more recent times with people like Michael Brecker, Branford Marsalis and Joe Lovano.

I don’t think there are any jazz instrumentalists, period, who have not had a steady diet of these greats in their musical upbringing. But, like any great tradition, there are so many saxophone players who are so important to the lineage,  yet are too often overlooked. These are musicians who were contemporaries of the greats, and who made massive contributions to this music, inspiring everybody around them. Many of them might have never made a name for themselves as leaders, instead preferring to work on the sidelines under the names of others, and others spent much of their careers living abroad or working in oblivion.

Still, their contributions were significant and they are well worth listening to. So many of today’s great players who are looking for a sound of their own have most certainly gone to these often unsung heroes for direction. Personally, as I’ve grown as a player and looked for new things to add to my own playing, I’ve sought more and more inspiration from them.

I thought it would be fun to give a list of 16 of them who have inspired me over the years, along with links to a great recording of theirs that you can start your listening adventure with.

Disclaimer: This is a very partial list. A complete list would be endless.

Also, I stuck only to players who are no longer with us. The list of unsung greats with us today would also most certainly be endless, and might even cause a lot of room for debate, a debate that I’m not particularly interested starting or being a part of. I’ll leave debates of who is greater than the others to the jazz magazines and cable sports networks.

(In no particular order…)

1. Don Byas (1912-1972)

Don was one of the great early tenor players, and a big influence on the early beboppers. In fact, he appears on a number of recordings with Charlie Parker. Although his style is more in the Coleman Hawkins tradition, the sophistication of his playing is stunning. He spent the last 26 years of his life living in Europe, and is often overlooked as a result. Most of his albums are out of print, but here’s a great compilation that’s out there:
Complete 1946-54 Paris Recordings

2. Lucky Thompson (1924-2005)

Lucky played with a stunning sound, and complete melodicism. He also played with some of the swing greats, such as Count Basie, as well as many of the best beboppers. His recording, Tricotism (‘56), featuring the great bassist Oscar Pettiford, blew my mind as a young player.

Lucky Thompson Meets Oscar Pettiford (Dig)

3. Roland Kirk (1935-1977)

Roland Kirk is most famous for playing multiple horns at the same time, including some very unusual woodwinds. While this was a breakthrough, especially considering he was blind from an early age, his tenor playing on its own is stunning. Big, blustery sound and just incredibly swinging. It’s rough around the edges, and probably not for everyone, but worth checking out.
Rip, Rig & Panic/Now Please Don’t You Cry, Beautiful Edith

4. Paul Gonsalves (1920-1974)

Best known for his 27-chorus blues solo on Diminuendo and Crescendo in Blue, captured on the recording Ellington at Newport (‘56), Gonsalves was one of the creamiest, most creative saxophone players ever. He appears on a number of Ellington’s great recordings from the 50’s, and really shaped the Ellington sound alongside the other great saxophonists in that group.

Ellington At Newport 1956

5. Clifford Jordan (1931-1993)

Clifford was one of the great players from Chicago, steeped in rhythm and blues, and known for his playing with Charles Mingus and his three Blue Note recordings as a leader. Jordan died when I was first getting into jazz as a teenager, and I quickly found myself a copy of his recording Spellbound and learned several solos from it. His sound was completely his own, and the swing is incredible.

Spellbound

6. Johnny Griffin (1928-2008)

Nicknamed the “Little Giant” due to his small stature, he was another Chicago great. I was fortunate to see him play a few times as a kid and will never forget it. He could play lightning-fast tempos like nobody else, and had a huge sound. He played with Thelonious Monk briefly in the 50’s, and these recordings are some of my favorite Monk.

Thelonious Monk in Action

7. Gene Ammons (1925-1974)

Yet another Chicago great. The son of a famous Boogie-Woogie pianist, he could play a mean blues and bring that blues sense to everything he played. Check out his recordings with Sonny Stitt. He certainly didn’t match up with Stitt technically, but what a fantastic sound and feel.

Boss Tenors

8. Dewey Redman (1931-2006)

Born in Texas, he is most famous for his early recording with Ornette Coleman and later as a member of Keith Jarrett’s first quartet. He is also Joshua Redman’s father. His sound is a massive force, and his melodicism is stunning. He could play inside as well as he could play free, and the cry in his playing is infectious. He is a huge influence on some major players today.

Fort Yawuh

9. Illinois Jacquet (1922-2004)

Although people know him for some of his more honking playing that influenced many of the rock players that would follow him, he could swing as well as anybody and break your heart with a ballad. He’s most famous for his solo on Lionel Hampton’s “Flying Home,” which shook the music world.

Flying Home: Best of Verve Years

10. Sam Butera (1927-2009)

Best known as the singer Louis Prima’s saxophone sidekick, his solo on “Just a Gigolo” is a growly, blustery wonder, something that every saxophone player should know. His playing is such an extension of the New Orleans tradition that he and Prima came out of, and it’s totally infectious, full of humor, spirit, and soul.

Collectors Series: Louis Prima

11. Warne Marsh (1927-1987)

The greatest disciple of the Lennie Tristano school, he was one of a kind, and has become a huge influence on young players of the last ten years. He was one of the truest improvisers to play this music, and this is undoubtedly some of the most sophisticated and delicate playing in the saxophone lineage.

Live at the Half Note

12. Charlie Rouse (1924-1988)

Many great saxophone players played in Thelonious Monk’s band over the years (John Coltrane, Sonny Rollins, Steve Lacy, Johnny Griffin), but Rouse played with him the longest and perhaps played Monk’s music more like it was intended to be played. The unique swing, use of space and dry humor in his playing delights.

Monk’s Dream

13. Sal Nistico (1938-1991)

I was first introduced to Nistico’s playing by Dick Oatts, one of the true saxophone heroes of today. Known for a long association with Woody Herman, where he shines, the depth of his lines is incredible.

Heavyweights

14. Eddie Lockjaw Davis (1922-1986)

Best known for his playing with Count Basie as well as the two-tenor groups he lead with Sonny Stitt and Johnny Griffin. This is some bigtime saxophone playing.

Complete Cookbook Sessions

15. Stanley Turrentine (1934-2000)

The most masterful and elegant of the blues players, here is complete mastery of the instrument, an incredibly identifiable sound, and an amazing soulfulness. He is most known for his commercial successes of the 70’s on CTI, but check out some of his earlier work for some more revealing tenor playing, especially this collaboration with the great Oliver Nelson (another great and unsung saxophone player).

Joyride

16. Eddie Harris (1934-1996)

Another player who had some commercial successes, but is too often overlooked by saxophonists. His playing is so spare and understated, even with his extensive and refined use of the altissimo register and extensive use of lines based on fourths. Nobody else could do so much over two chords as Eddie when it came time to be funky, and the opening notes of “Shadow or Your Smile” on this record still make me melt.

In Sound

If you have some players to add to the list, I would love to see your thoughts in the comment section below.

Introduction

For years and years now, Conn-Selmer has been manufacturing some of the most popular and highly regarded woodwind and brass instruments on the market. I was recently contacted by Derek Bowen over at Conn-Selmer, and he was nice enough to send me a Yanagisawa 992 tenor, Selmer Reference 54 tenor, and a Selmer Reference 54 alto saxophone. I will be reviewing these three saxophones based on the following performance criteria:

• Appearance
• Tone & Responsiveness
• Action
• Intonation
• Overall Thoughts.

Yanagisawa 992 Tenor

Yanagisawa 992 Tenor

Appearance

The Yanagisawa 992 saxophone looks great with its bronze body and gold lacquer keys. I personally own a Yanagisawa 991 tenor which I absolutely think is a great modern tenor. The 992 has some nice features such as metal resonators, which I would definitely consider in my next horn purchase.

Tone & Response

Overall, my Yanagisawa 991 tends to be on the brighter side througout the horn but while trying out the 992, the bronze finish gave this horn a darker sound and with the metal resonators (on the 992 not on the 991) this tenor had a bigger, punchier sound. I felt that the metal resonators really enhanced the core sound of the 992 and did not take away from the dark lush tone. The 992’s response was instant. I played this horn right out of the box, and had no difficulty playing from low Bb to High F#. I found while moving into the altissimo register it was almost too easy and this was something that I have to practice more on my Mark VI tenor.

Action

I would say the Yanagisawa embodies the free-blowing-ness of a Yamaha, but with the action more in-line with a modern Selmer. The Yanagisawa 992 was well-constructed and was very easy to get around, especially in the palm keys. I believe the attention to detail with regards to fine-tuning is the reason these horns play so well out of the case and require essentially no adjustments.

Intonation

The intonation on the 992 was spot on. I went through my overtone workout smoothly and could not find any notes in particular that were excessively sharp. I do have to say that on my 991, I found that, since it’s a brighter horn, I had to adjust to the brighter sound when fine tuning in the upper register. The 992 I believe has a warmer tone due to the bronze finish and I found a bit easier to play in tune than my 991.

Overall

Compared to my 991, the Yanagisawa 992 tenor saxophone would work well for classical as well as jazz musicians due to its warm tone. I found the 992 to be a very versatile horn and with the right mouthpiece and continual practice (as always), this horn will last you years and years with few trips to the repair shop.

Selmer Reference 54 Tenor (matte finish)

Selmer Reference 54 Tenor (matte finish)

Appearance

The Selmer Reference 54 Matte finish was the first modern Selmer model I ever saw offered with a matte finish and no engraving. This “vintage” finish gives the Reference 54 a different look in comparison too many of the “un-lacquered” or “raw” finish saxophones seen on the market today. The matte finish model unlike the standard lacquer 54 had a light grey hue in certain areas.

Tone & Response

I found the overall tone of the reference to be a bit brighter compared to my Mark VI throughout the horn. The response was quick and had a nice edge and resonance to the sound. I did not find this horn to be stuffy at all and found it to have the right amount of resistance so it was not super free blowing but at the same time, it gave me something I could push against which made playing dynamics very easy. I did find my Mark VI to have a more complex tone, but believe the Reference 54 is the closest that Selmer has come to re-creating the “Mark VI sound” that so many players are after.

Action

The Reference 54 tenor’s action was very similar to my Selmer Mark VI layout but there were some differences. I found the low C and Eb key to be larger which can be seen on many modern horns for extra grip for your pinky. I found the G#, C#, B, and Bb side keys to be a bit larger and this feature reminded me of the Mark VII. The 3rd difference I noticed was the neck because it was a bit higher and sloped down which affects how the air passes thru the neck. I have noticed this with the Selmer super action 80 series II tenor with the higher profile neck and believe there are some added benefits in terms of how fast the air moves thru the neck. I personally thought the higher profile neck might feel a bit unusual at first but something you would become accustomed to very quickly.

Intonation

I found the intonation to play great on the Reference 54 tenor like the Yanagisawa 992. I did find the altissimo range to not be as instant as the Yanagisawa, but the overall intonation was easier to achieve on the Reference than my Mark VI.

Overall

The Selmer reference 54 tenor should not to be viewed as an identical copy of the Mark VI, but embodies many of the characteristics of the Mark VI with the modern keywork and intonation improvements seen on the modern Selmers. I would have to say that I prefer the key placement of my Mark VI over the Reference as well as the Mark VI neck compared to the Reference 54. What I did enjoy about this model is the improved build quality as well as the overall intonation, which was easier to achieve on the Reference 54.

Selmer Reference 54 alto

Selmer Reference 54 alto

Appearance

The Reference 54 alto is one of the most attractive looking altos on the market today. The Reference 54’s honey gold lacquer finish with its deep engraving reminds me of some of the mint-condition Selmers from the 60′s.

Tone & Response

The overall tone of the Reference 54 alto was darker than my Selmer Super Balanced Action alto, but had a nice edge to the sound that gave it a full and focused, bright core sound. I found the Reference 54 to have a instantaneous response, and like the reference tenor, the Reference 54 had some resistance which helped me develop a nice round tone, especially in the upper register.

Action

I found the Reference 54 alto to embody more of the Selmer Mark VI look and feel compared to the Reference 54 tenor saxophone. The key layout felt so similar to many of the early 60′s and 70′s Mark VIs I have tried out. The one key placement which for me personally I would have changed is the bis key which was further out to the right of the B pearl. I understand this is great for players who feel the bis key could feel uncomfortable when its directly in line with the B, A, and G pearls, but since the Selmer Super Balanced Action (SBA) and Yamaha custom altos I play on have it in-line with the rest of the pearls, this change in the bis key placement would be something I would have to adjust to.

Intonation

I found the intonation on the Reference 54 alto to play great, especially in the upper register and in the palm keys where I have a tendency to be a bit sharp. I found the Reference 54 alto to have better intonation overall compared to my SBA and found this horn to simply require less adjustment to play certain overtones in tune.

Overall

The Selmer Reference 54 alto saxophone was a great effort by Selmer to embody the overall characteristics of the Selmer Mark VI while incorporating the modern innovations that would enhance and improve upon the Mark VI’s overall responsiveness, intonation, and build quality.

Closing Thoughts

The Yanagisawa 992, the Selmer Reference 54 (matte finish), and the Selmer Reference 54 alto are my favorite models that Conn-Selmer has to offer. I would have to say the 992 would work well for classical as well as jazz players, and I believe the 992 will attract more and more players who get a chance to test it out.

The Reference 54 tenor is a great tenor, but I recommend testing out a few Reference 54 tenors back-to-back when going to your local music store. The reason is, I found that the Reference 54 tenors are not as consistent from horn to horn as the Yanagisawa line and are truly a very personal horn. Once you find the right one, it will be hard to put down.

The Reference 54 alto truly captures the look, feel, and vibe of the great Mark VI’s. Some of the keywork I would like to change (such as the bis key and the spring heights), but, like the Reference 54 tenor, the Reference alto is a horn that I have been told by many professionals to try a couple of them out, and that once you find the right one, you won’t play on anything else.

I would like to thank, once again, Derek Bowen over at Conn-Selmer for sending me these great horns, and hope to, in the future, to write a review on the various sopranos and altos that Yanagisawa and Selmer have to offer.

Audio Samples

To illustrate the difference in sound quality between these three horns, I’ve recorded some audio samples of myself on each one.

Yanagisawa 992 Tenor

Selmer Reference 54 Tenor (matte finish)

Selmer Reference 54 alto

Please post your comments on what you think, and also let me know if you have any questions about these models or any other models that Conn-Selmer offers.

Yanagisawa main website:
http://www.yanagisawasaxophones.com

Henri Selmer Paris main website:
http://www.selmer.fr/index.php

Photo courtesy of Seattle Municipal Archives

Pushing Your Saxophone Technique Limits

It’s true. There are physical limits to how many notes can be played with accurate timing, articulation, and proper intonation. However, there’s really no telling what those limits are. When practicing, it’s important to push ourselves to approach those limits to achieve greater proficiency. That will result in a more relaxed, comfortable and, most importantly, creative playing style when performing. Of almost equal importance, we know what not to do!

Have you ever suffered an ugly squawk right in the middle of a great solo? You know the one I mean. That altissimo note that “usually” plays as expected but not always. If you want to be sure of that note, the solution is to push the limits a bit further. The notes you’re unsure of should be the ones you plan not to use in a performance.

The same is true for technical mastery. If you want to be able to ease through those bebop passages at 340 beats per minute without any worries, practice them at 360. While this makes logical sense, getting there can be a challenge. The following is a practice technique that can help make improvisations more interesting, technique more fluent and articulation more precise.

Pushing The Limits of Speed and Precision

The first thing you need to do is decide on a level you could never reach. Imagine playing a single note on the saxophone and executing the kind of rhythms played by an accomplished snare drummer in a marching drum corps. It’s pretty safe to assume a saxophonist could never play rhythms that fast and complex! However, we can use that as our example of an unachievable target. In other words, to push your limits as far as possible, aim for the impossible.

For this example, you might start with a sixteenth note pattern, all tongued at a moderate tempo. Then do what those snare drummers do. Begin adding “heavy” accents so that the accented notes themselves create a recognizable rhythm.

Try the following example. Start by playing the rhythm created by the accented notes as is shown on the second staff. Then try playing the first staff, making the accented notes strong enough so that you can really hear that separate rhythm interwoven wit the sixteenth notes. It can almost sound like two people playing different rhythms. Start slowly and gradually increase the speed as you continue to repeat. When you reach what you think your limit is, keep trying. Each day, set a goal that you think is just beyond what you can achieve and don’t give up trying to get there.

Try the same accents applied to the first five notes of the G Major.

Scale, all tongued.

Now try the same sixteenth note pattern while tonguing only the accented notes.

Keep going! Make up combinations of your own to challenge your perceived limits. Move the accented pattern to different notes. Try different scale and melodic patterns.

Emphasis On Articulation

Why can’t saxophonists play rhythms as intricate as a drummer would play? Our fingers can move fast enough, but it is the physical limit of our tonguing that sets the rhythmic bar lower. You can push that limit by focusing on less movement of your tongue. The faster we try to tongue the more important that becomes. Use just the tip portion of your tongue while firming the muscles along the sides and back. For this approach at practicing, you should attack those accented notes with a harder tongue. That alone should help you go faster. The most difficult thing of all is to tongue a whole line of sixteenth notes very rapidly while making certain they all are the same volume with the same tonguing force. Of course, you can push that limit as well. Pushing your limits is the way to gain technical prowess.

The Importance of Internalizing Rhythm

Saxophone players can fall into the routine of focusing more on notes or tone at the expense of rhythmic accuracy. An underlying element in this is the importance of masculine and feminine beats and portions of beats. Within that sixteenth note pattern, the first and third beats are more masculine and the second and fourth are more feminine. Through diligent practice, learn to internalize the feeling of emphasizing those feminine notes – this can add an element of surprise to improvisation. We are more accustomed to emphasis on masculine notes and that’s why the complex rhythms played by those snare drummers are so intriguing. They contain that element of surprise and we love being surprised.

Of course there are a number of ways to surprise our audience during a sax solo. Some players do that by allowing distorted notes to happen. Some are so accomplished at playing the altissimo it comes as a surprise. Some surprise with unexpected melodic resolutions as the dissonance and consonance increases and decreases through the matching up of scale structure and harmonic content. As you explore those limits and continue working to push them higher, don’t neglect the importance of rhythm in music. It may be the most important element of all.

Benefits of the saXholder

I was able to talk to Silvin Jancic, who is Jazzlab’s CEO. He was explaining to me the benefit of the saXholder when compared to a traditional neck strap and recommended that I go back and forth between his saXholder and the strap I had been using up until that point. Silvin told me that I would see the benefit of the saXholder the more I practiced on a daily basis.

According to the Jazzlab’s web site, the saXholder will transfer the weight of the sax evenly to both shoulders, with no stress on your neck. Upon playing my horn with it, this strap feels stable while standing up or sitting down, and fits soprano, alto, tenor, and bari saxophone as well as bass clarinet.

A Unique Design

As you see in the picture at the top of this article, the bottom part is positioned on your stomach and can be adjusted based on your preference. The hook, that comes with the strap is made of stainless steel and coated with plastic, which is great because metal hooks can wear down the strap hook on your horn and the plastic on the saXholder prevents this from happening.

My Experience

I found the saXholder very easy to put on, take off, and adjust. I did enjoy standing when using the saXholder and noticed that unlike a saxophone harness, the saXholder gave me much more mobility while holding the saxophone.

At first sight, the saXholder reminded me of a strap or harness that a snare drum player would use in marching band. I know that some musicians find the saXholder a bit odd looking, but when you place the strap under a jacket, it is not that obvious to others when you are playing on a gig. I decided to purchase this saXholder to see what the benefit would be after practicing between 1 to 1.5 hours a day. I currently use a Kolbl neckstrap, and after switching between the two for the past two weeks, I can definitely see the benefits of the saXholder.

The one thing I did notice about this strap is when you sit down and play the horn to your side, the strap does shift a bit, But generally speaking, the saXholder stays snug on your shoulders.

Conclusion

My overall thoughts on this strap are that it is definitely unlike anything else on the market, and will defintely remove pressure from your neck. I would recommend the saXholder to any student or advanced saxophonist looking to relieve pressure from their neck. If you prefer another neck strap, at least when you go out for gigs, then I still recommend the saXholder for practicing because when shedding for so many hours a week, this unique strap will relieve pressure on your neck, allowing you to shed longer.

To learn more about the saXholder head over to http://www.jazzlab.com/en/saxholder. To purchase one for yourself, in the US, go to http://macsax.com/saxholder where you can purchase the strap for $67, or check out the full list of dealers at http://www.jazzlab.com/en/dealers.

Have any of you tried this strap? I’m also curious to know which strap do you currently play on.

The saXholder folds up nicely for easy storage.

Photo courtesy of Chris Drumm

Someone once told me that, when speaking to Cannonball Adderley about tone after seeing him with Miles’ band, which included John Coltrane (!), he mentioned that they were seeking an “inspired tone”. Safe to say, they found it.

An inspired tone, along with great time, are two traits that all masters have in common. No two saxophonists have exactly the same tone, but masters do seem to have at least a few common qualities:

Relative color balance- Some masters emphasize darker partials in their tone, others more brilliant ones, but there’s a relative balance that creates a “full” and attractive quality. And a master’s tone color is often influenced by saxophonists that they admired and emulated. For example, Coltrane’s tone was influenced by Dexter Gordon, Sonny Rollins’ by Coleman Hawkins, Cannonball’s by Benny Carter.

Center or Core- A centered tone provides intensity that gives tone more impact and presence. Don’t confuse intensity with volume. Masters have intensity in their sound at any volume, in large part due to center. Without center, even a very loud saxophonist will most likely have little intensity.

Nuance- Masters are able to shape their tone, actually changing it to project a certain feeling. Technically, this is mostly accomplished by altering the shape of the oral cavity, which can change tone color, or varying jaw pressure, which can increase or decrease focus (e.g. subtone).

Personality- From an artistic standpoint, this is clearly the most important facet. It’s the ultimate goal. However, simply being unique doesn’t necessarily equate to personality, or for that matter, quality. Having a mature, personal sound is a complicated amalgam of influence and self-reflection that normally doesn’t happen overnight.

The following video excerpts are from The Jazz Conception Company course “Jazz Saxophone“, with Walt Weiskopf and I splitting 6 lessons.

Tone Color with the Overtone Exercise

One of the best exercises to develop tone color is the overtone exercise, as it allows you to match normally fingered notes with much fuller sounding overtone fingerings. Here’s Walt taking about this exercise in the tenor key of Bb.

Excerpt from Jazz Saxophone Course - Lesson 4 from The Jazz Conception Company on Vimeo.

Download PDF Sheet Music for Tone Color with the Overtone Exercise

Nuance through Emulating Masters

The very best way, and probably the only way, to realize the full potential of your tone is by emulating masters. They’ve already figured out how to have all the qualities mentioned above, so coming reasonably close to their concept of sound goes a long ways towards having a great tone. In this clip, I demonstrate certain qualities of Cannonball’s tone by playing bits and pieces of his rendition of “Stars Fell on Alabama”.

If you’re an alto player, listen to this example and play through it a few times going for Cannonball’s tone quality and nuance. Beyond tone considerations, you’ll also notice that there are grace notes, bends, drops and subtone that add to his personal approach.

Excerpt from Jazz Saxophone Course - Lesson 6 from The Jazz Conception Company on Vimeo.

Download PDF Sheet Music for Nuance through Emulating Masters Exercise

Centered Tone through Emulating Masters

One great example of a centered tone is Sonny Stitt, one of the only saxophonists in jazz history to have a significant impact on both the alto and tenor. Walt has written an etude highlighting Stitt’s style. The etude is based on “Between the Devil and the Deep Blue Sea”, and you’ll hear that Walt demonstrate’s Stitt’s style masterfully. Once again, listen to this a few times and then play along. Check out Stitt’s “New York Jazz” recording, which serves as a model for this etude.

Excerpt from Jazz Saxophone Course - Lesson 5 from The Jazz Conception Company on Vimeo.

Download PDF Sheet Music for Centered Tone through Emulating Masters Exercise

Introduction

Vandoren is a name that many saxophonists have come to swear by. I have tried many of Vandoren’s reeds and saxophone accessories for soprano, alto, and tenor. David Gould and Andy Blanco over at DANSR were nice enough to send me some of their most popular Vandoren products. I am going to be reviewing a good chunk of the product line and sharing my thoughts on these items.

Mouthpiece Cushions

Vandoren Mouthpiece Cushions

Many saxophonists know that when you find the right mouthpiece, you never want it to wear out. I have tried many vintage and used mouthpieces and have noticed that many mouthpieces, after continuous play, will have the bite pad worn down to the point where the mouthpiece needs to be repaired or is almost unplayable. A great accessory and cost effective solution that Vandoren offers is it’s black mouthpiece cushions. These mouthpiece cushions are on the thicker side which offers great protection. In addition to long lasting, these cushions last for a very long time and can be switched from mouthpiece to mouthpiece without losing the adhesive that keeps the mouthpiece cushion in place.  I highly recommend the Vandoren mouthpiece cushions because they will protect your favorite piece(s).

Find on Amazon.com: Vandoren Mouthpiece Cushions Black, Thick, Package of 6

M|O Vandoren Ligature (Gold & Aged Gold)

M|O Vandoren Ligature

Tenor

The two ligatures I received from Vandoren were the new M|O gold and aged gold ligatures for tenor and alto saxophone. All throughout high school I played on a metal Vandoren V16 mouthpiece and the very popular and widely used Vandoren Optimum ligature. Not too long ago, Vandoren introduced the M|O ligature, which is a combination of the Masters series ligature and the Vandoren Optimum ligature resulting in a lig that is light-weight and allows the reed to vibrate even more.

Aged Gold

My main setup throughout college and now is an old hard rubber Otto Link mouthpiece with a Francois Louis Ultimate Ligature. When I tried the M|O ligature I was surprised by how I could shape notes with an edgy and focused sound. This ligature reminded me of the Optimum ligature but the M|O ligature was lighter and had less contact points on the reed allowing it to vibrate more freely. I was surprised by how consistent my sound was using the M|O from the top register all the way down to my low Bb.

Gold Finish

The gold finish M|O ligature compared to the aged gold finish M|O ligature was very similar. The difference that I found between this finish and the aged gold finish was when I was playing the gold finish, I heard a bit brighter sound when in the upper register and the sound was a bit less spread and more focused in the upper register.

Alto

I have played on a Rovner Eddie Daniels Edition ligature and a stock Meyer 6M mouthpiece for a very long time. Overall, I found the same results with the M|O ligature on tenor as I did on alto. The best way to describe the difference between the aged gold finish and the gold finish would be the overall sound. When I played on the aged gold finish, I felt my sound was leaning towards a more Cannoball Adderley-esque sound while the standard gold finish M|O gave me a brighter sound that reminded me of Charlie Parker and Sonny Stitt. I understand that everyone has different preferences in terms of sound and comfort and that is why I recommend checking out all three finishes if you can (aged gold, gold lacquer finish, and gold plated finish).

Here are two videos of Antonio hart playing with the M/O ligature:

M/O Vandoren ligature Alto (Gold & Aged Gold)

Read the Vandoren Product Brief

Find on Amazon.com: Vandoren M/O Series Saxophone Ligature Tenor Sax – Gilded

Mouthpieces

Vandoren SM823E Mouthpiece V16 T75 Tenor Saxophone Ebonite

Vandoren V16 T8 (Tenor)

I own a Vandoren V16 A7 alto mouthpiece and have switched between my Vandoren and Meyer mouthpiece based on which alto saxophone I am playing. I recently was able to try the Vandoren V16 T8 mouthpiece for tenor to see how it compared to my Link. I would have to say that out of the various mouthpieces that Vandoren offers, from soprano to baritone sax, the V16 mouthpiece reminded me most of the popular vintage mouthpieces that so many players (including myself) have played or have been searching for.

I found the V16 T8 model to be a little bit open and I would probably prefer playing on the T7. One characteristic that I have noticed while trying the Vandoren V16 as well as the Vandoren Jumbo Java mouthpiece is the consistency you can obtain on these mouthpieces. I found the V16 to play very neutral throughout the entire range of the horn, and I found great stability when playing down to the low Bb as well as playing up to the high F#. In comparison to my Link, I felt that my Link had a bigger sound as well as focus, but the Vandoren V16 was more consistent from top to bottom. I would highly recommend trying the V16 model if you are looking for something that embodies many of the characteristics of the most popular vintage mouthpieces, but with Vandoren’s mouthpiece innovations.

Find on Amazon.com: Vandoren SM823E Mouthpiece V16 T75 Tenor Saxophone Ebonite

Vandoren SM823E Mouthpiece V16 T75 Tenor Saxophone Ebonite

Vandoren Jumbo Java T75 (Tenor)

The Vandoren Jumbo Java is one of Vandoren’s most popular jazz mouthpieces. Many players who I have talked with view the jumbo java as a mouthpiece that offers many players the power of a metal mouthpiece but in hard rubber. When I test-played the Vandoren Jumbo Java, I was surprised by the sound. I did not realize how loud a hard rubber mouthpiece could be. I found that I was able to produce a very big sound that just consumed the entire room.

In terms of focus, I found this mouthpiece to be much more spread than focused. The Jumbo Java was very easy to control and I found in particular the bottom range to be extra-full. This mouthpiece is very different from the V16 model mouthpieces and I would recommend trying out both to see which one fits your style of playing.

Find on Amazon.com: Vandoren SM613B Mouthpiece Vandoren Tenor Sax Jumbo Java T75

Reeds

I tried almost every type of reed that Vandoren manufacturers, from the blue box to the ZZ’s, but had not gotten the chance to compare the full line up side by side. I received a mixture of 2.5 and 3-strength reeds of the Vandoren Java, Vandoren V16, Vandoren ZZ, and the Vandoren Java Red for tenor saxophone. Here are my thoughts on how these reeds sounded to me.

Vandoren Java

Vandoren Java Tenor Saxophone Reeds

I play-tested the 2.5 and 3 strength vandoren Java reeds. What I noticed was I prefer the 2.5 Java over the 3 because the 3 was a bit hard. What I noticed about the Java was its instant response as well as bright sound, especially when I played in the upper register. I find these reeds to be very free blowing and brighter overall when compared with the ZZ and V16.

Find on Amazon.com: Vandoren Java Tenor Saxophone Reeds #3, Box of 5

Java Red

Vandoren Java Red Tenor Saxophone Reeds

The Vandoren Java Red was the newest reed of the Vandoren line up that I had ever tested. The best way to describe the sound of this reed would be as follows: It had the characteristics of the Java in regards to the brighter upper register, with neutral mid range of the V16 reed, and the edge and free blowing-ness seen in the Vandoren ZZ.

Find on Amazon.com: Vandoren Java Red Tenor Saxophone Reeds #2.5, Box of 5

Vandoren ZZ

Vandoren ZZ Tenor Saxophone Reeds

The Vandoren ZZ was overall the edgiest and darkest reed of the Vandoren line. I found the ZZ to have a nice focused sound and can see why so many jazz saxophone players have chosen this reed.

Find on Amazon.com: Vandoren ZZ Tenor Saxophone Reeds #3, Box of 5

V16

Vandoren Tenor Sax V16 Advanced Reeds

I found the V16 reed to be the most neutral of the Vandoren line. This cut has actually been one of my favorite Vandoren cuts due to is consistency out of the box as well as it neutral timbre which gave me the most freedom to shape the sound the way I wanted. I found the V16 to have more resistance compared to the ZZ, Java Red, and the Java. If you are not a big fan of some resistance, I would recommend the ZZ or Java, but this reed has a very warm sound.

Find on Amazon.com: Vandoren Tenor Sax V16 Advanced Reeds #3, Box of 5

Vandoren Reed Comparison Chart

Overall Thoughts

All in all, Vandoren has consistently been developing great products over the years. They are probably one of the most innovative companies in woodwind accessories and I can see why many players have continued to play their products. My favorite product out of the Vandoren product line was the aged gold Vandoren M|O ligature for tenor saxophone, and surprisingly I enjoyed playing on the Vandoren Red box just as much as I did on the V16. I would like to thank David Gould and Andy Blanco for sending me these various Vandoren products.

Otherwise, the best advice I can give in regards to equipment is to play what feels comfortable.

I’d love to get your thoughts on Vandoren’s product line, so please chime in below!

This is a very useful series of exercises for building your chops and acclimating your ear to different tonal colors. The term “X-Centric”, in this case, doesn’t mean weird or nutty, but defines a concept where X is the variable “central note” around which these exercises (or any series of melodic statements) can be formed.

I believe I first saw this concept related to pentatonics in Ramon Ricker’s book Pentatonic Scales for Jazz Improvisation which I got when it first came out in the mid to late 1970′s. In this book was a chart depicting the 5 pentatonic scale modes started from each of the 12 notes of the chromatic scale, written in whole notes in ascending fashion.

Several years ago (as I realized, that after all those years, I could finally play 5 different pentatonic scale modes from any note without breaking too much of a sweat), I came up with this X-Centric pentatonic exercise. For example, it breaks down like this:

The note C would be the:

• first tone of the “i mode” of C maj. pentatonic (C-D-E-G-A)
• first tone of the “ii mode” of Bb maj. pentatonic (C-D-F-G-Bb)
• first tone of the “iii mode” of Ab maj. pentatonic (C-Eb-F-Ab-Bb)
• first tone of the “iv mode” of F maj. pentatonic (C-D-F-G-A)
• first tone of the “v mode” of Eb maj. pentatonic (C-Eb-F-G-Bb)

This generates 5 different pentatonic modes from the same starting note, each from a different key center.

Now if we take it through the 12 notes of the chromatic scale (12×5), we’ve got 60 distinct pentatonic modes.

When we get this stepwise pentatonic exercise comfortably under our fingers, we can then start checking out some intervalic possibilities. Taking a page from another excellent book, this time Jerry Bergonzi’s popular Vol. 2, Pentatonics, we can apply any of Gonz’s 8 formulas or “shapes” X-Centrically.

(A “step” in this case refers to the distance between adjacent notes of the pentatonic scale, not the diatonic major.)

(X) skip step down (X) step down (X) skip step up (X) step down.

Applying this formula to the i mode of the C Major Pentatonic scale (C – D – E – G – A), this translates, in to:

(C) skip step down to (G), step down to (E) skip step up to (A) step down to (G)
…and the pattern keeps repeating.

In measure 3, we use the same formula starting on C, only this time “C” is the first note of the ii mode of Bb Major Pentatonic.

(C) skip step down to (G), step down to (F) skip step up to (Bb) step down to (G), repeat formula………..

When we flip Bergonzi’s formula #1 upside down, we get formula #5. Now the direction is reversed.

(X) skip step up (X) step up (X) skip step down (X) step up, repeat…..

i mode of C: (C) skip step up to (E) step up to (G) skip step down to (D) step up to (E), etc.
ii mode of Bb: (C) skip step up to (F) step up to (G) skip step down to (D) step up to (F), etc.

Hey, I think you’ve got it! You can try it with any of the eight Bergonzi shapes or any of your own 5 note patterns. It gets really interesting when you start use these schemes with pentatonics flat 3, flat 6, flat 2, etc.

For that matter, the X-Centric approach should work, theoretically, with any non-symmetrical scale of any length.

Experiment! Have Fun!!

Click the links below to download the exercises in much more readable PDF format:

• Major Modes exercises

• Bergonzi Formula 1 exercises

• Bergonzi Formula 5 exercises

Although I had the chance to test out many existing and new products from various vendors, there was not enough time in the four day show to try out all of the newest saxophone equipment. I have included here a list of the various saxophones that I had the opportunity to try and in the near future will have some more reviews with an in-depth look at some mouthpieces and accessories that I had the opportunity to play on. In the upcoming reviews I plan to play-test this new equipment and perform A/B tests with my current setup so that players can hear the differences in what each product offers the musician.

Here is a list of products that I had the chance to play-test:

P Mauriat System 76 2nd edition un-lacquered tenor without high F#

P Mauriat System 76 2nd Edition un-lacquered tenor without high F#

At the 2012 NAMM show, the P Mauriat System 76 2nd Edition tenor was a big hit at the show as one of the company’s models that offered the player a straight tone hole saxophone as well as keywork that is similar to some of the most popular vintage saxophones that many players are looking for today. At this year’s show, P Mauriat introduced the same model tenor but without the high F# key. The 76 2nd edition without the high F# is so far my favorite P Mauriat saxophone. The reason I enjoyed this new model without the high F# key was the fact that this horn and its keywork felt very similar to the Selmer Mark VI that I currently play on.

Some players prefer the horn without the high F# key because the horn vibrates a little bit differently without that extra key. They may also value the fact that this saxophone is physically a bit lighter. I found while playing the P Mauriat 76 2nd Edition tenor that I could produce a focused sound with various timbres in the lower and upper register. I reviewed this same model with the high F# key last year and for me, this simple change to the saxophone gave myself that extra edge and comfort I was looking for in this model.

In addition to this new model, P Mauriat has come out with a new pro contoured hard case that will be coming out soon. When I first looked at the case, it reminded me of a Walt Johnson hard shell case. The P Mauriat case seemed incredibly sturdy on the outside and had a plush cloth interior with storage compartments to put your saxophone neck, mouthpiece, and accessories.

One feature that I wish more manufacturers added to their cases is the turnkey buckles. I believe this feature should be added on all new pro cases due to the added safety these locks add to your saxophone’s protection.

Overall, it was great to see that P Mauriat has been listening to its artists as well as saxophonists in general regarding changes that can make the horn even better. I am excited to see what P Mauriat has to offer at NAMM 2014.

To learn more go to http://www.pmauriatmusic.com/en/products/item/4-tenor/31-system-76-2nd-edition.

MACSAX Empyreal tenor saxophone

MACSAX Empyreal Tenor saxophone

I had a great time visiting the MACSAX booth and talking with Greg Wilson, Michael Crouch, and Eric Falcon about the new MACSAX Empyreal tenor that had been recently released. The MACSAX horn that grabbed my attention was the MACSAX Empyreal tenor with the cognac finish.

A couple of months ago, I had the chance to test out the Empyreal alto saxophone which had a great vintage vibe. Since the Empyreal alto came with Ken Beason’s benchmark setup, the action felt great, the horn was free blowing, and the intonation was spot on with very little adjustment. If you enjoyed playing on the Empyreal alto, then you will really dig the Empyreal tenor.

The Empyreal tenor reminded me of a Mark VI body with a SBA neck. When I started playing it, I found the action to be similar to my Selmer, which made the horn feel right at home. I was able produce a full-core sound that had a lot of power behind it. I tried various Empyreal tenors and really liked the cognac-lacquered sax that Eric told me to first check out. MACSAX also had some great hard rubber and metal mouthpieces along with some new pieces that will be out soon.

Within a relatively short time span, MACSAX has come out with a great line of saxophones, mouthpieces, and accessories. I will definitely stop by MACSAX at every NAMM show just to see what they can do to make a great horn even better.

To learn more about MACSAX go to http://macsax.com/macsax-empyreal-tenor-saxophone.

Andreas Eastman 52nd street tenor saxophone

Andreas Eastman 52nd Street tenor saxophone

This was the first time I had the chance to test out the 52nd Andreas Eastman tenor saxophone. I have read a couple reviews online as well a review in a recent NAMM issue and in Downbeat, but had not had the chance to play-test this saxophone. While at the booth, Ralph Torres, who is a product manager over at Eastman allowed me to try the 52nd street tenor and wanted my thoughts about how the horn played overall.

I found the 52nd Street tenor to be incredibly free-blowing and that it produced a very big sound. This horn really surprised me by how even the intonation was as well. I was also impressed by its solid build quality. I found the bis key to be a bit high, but that was my only comment in terms of improvements that could be made to the key layout.

This horn is definitely targeted (like many new “vintage” horns) towards those players who have been accustomed to their old SBA or Mark VI, or for those musicians who have not been able to afford the hefty price tag associated with many in-demand vintage horns. Some features I noticed on the 52nd Street tenor were the rolled-style tone holes and the adjustable palm key heights which I had previously believed that only Keilwerth had on their saxophones.

The horn comes in a multi-functional nylon fabric case. I really enjoyed play-testing this tenor saxophone and hope in the next couple of months to try out the 52nd street alto to find out how it plays in comparison to the tenor.

To learn more about this horn go to http://eastmanmusiccompany.com/woodwinds_sax_ETS652RL.php

Theo Wanne Mantra tenor saxophone

Theo Wanne Mantra tenor saxophone

Although I was not able to try out the Theo Wanne Mantra tenor at NAMM 2012, I had the opportunity to test play one at this year’s show. Theo had the Black Nickel, Vintified, Silver Plate, and Platinum finished tenors on hand. I was able to get my hands on a Platinum finished model. The Mantra tenor has been written up in Downbeat, JazzTimes, and was selected at 2012’s top 50 products at the NAMM show last year. This Theo Wanne tenor has 30 innovations and features such as 20+ adjustment screws, premium kangaroo pads, and a Mantra metal mouthpiece included with every horn. I will be reviewing the Mantra later this year with a more in depth look at what this tenor has to offer.

Overall, I found that while playing the Mantra tenor, the upper register was incredibly clean and focused. I found this horn to be on the brighter side in comparison to the other tenors I tried at the show, and I found the Mantra tenor, although completely unique, to embody many great features of Selmers and Conns, but with modern keywork.

To learn more about the Mantra tenor go to http://store.theowanne.com/products/mantra-tenor-saxophone.

Inderbinen tenor

Inderbinen tenor saxophone

The Inderbinen tenor is a completely hand-made horn. This was the first year that Inderbinen came to the NAMM show as well as my first time getting a chance to play on one. The only time I have ever seen this horn in action was when tenor saxophonist Troy Roberts was playing on one. The best way to describe the Inderbinen tenor would be to take the keywork from a Yamaha 62 (almost identical) and combine this keywork with a finely constructed horn.

I found the Inderbinen tenor to produce a very neutral and even sound. If you are interested in purchasing a Inderbinen there is a one and a half to two year waiting period. There are about twenty of these horns built each year and the work done is based on what you are looking for, so each tenor is completely unique. I found the price point for this tenor to be much higher relative to other horns at the show (the tenor was going for $11,875 U.S. dollars).

To learn more about the Inderbinen tenor go to http://www.inderbinen.com/Page/SaxTenor_d.html.

Keilwerth MKX

Keilwerth MKX tenor saxophone (photo courtesy of www.kesslermusic.com)

My first tenor saxophone was a Keilwerth EX 90 Series III. I really enjoyed playing on this tenor and bought this intermediate model at the time because the SX90R professional model was out of my price range. The Keilwerth MKX is trying to capture more of the “vintage” vibe and at the same time embody some of the features that Keilwerth is known for.

When I was talking to Al Maniscalco, product manager at Keilwerth, he told me that the design embodies a more traditional layout, which means straight tone holes, standard size pearls, and a palm key layout that reminded me of my Mark VI. I personally thought this was one of the best Keilwerths I had ever played. I do like the adjustable palm keys and oversized pearl key touches that are on the SX90R model alto and tenor Keilwerths, but I prefer a more traditional key and tone hole layout which is why I enjoyed playing this tenor so much.

The MKX still has the oversized bell as well as many features associated with the SX90R. This sax will come in a hard shell J Winter case, which is a great case in its own right, and I am happy to see that more and more manufacturers are including great cases with their professional-level saxophones. I believe this Keilwerth model will attract players who want that vintage feel but with a great modern sound.

(surprisingly Keilwerth does not seem to have a web site, any readers who know of a URL for a Keilwerth website, please let me know).

Yanagisawa 992PG

Yanagisawa 992PG tenor saxophone

When I visited the Conn-Selmer booth, Bob Litchy, director of product marketing for saxophones, told me to check out the Yanagisawa 992PG. I played on a Yanagisawa 991 as well as a Selmer Mark VI throughout college and did not expect to see a Yanagisawa 992PG tenor due to the fact that only a relatively small number were produced .

I found out that the Pink Gold model is a mix of sterling silver and copper, which gives it the pinkish color. When I played the Yanagisawa Pink Gold tenor saxophone is was very similar to my 991 in terms of keywork, but the sound was different. I found the pink gold finish to have a warmer sound in comparison to the regular gold lacquer .

The upper register seemed to be a bit brighter as well as louder in the palm keys. The pink gold finish is extensively engraved and is my favorite model that Yanagisawa produces due to its warm but complex sound.

To learn more about the Yanagisawa 992PG tenor saxophone go to http://www.yanagisawasaxophones.com/saxophones/product.php?model=T-992.

RS Berkeley Virtuoso gold plated tenor saxophone

RS Berkeley Virtuoso Gold Plated tenor saxophone

It was great to visit the R.S. Berkley booth this show after reviewing the Virtuoso unlacquered tenor saxophone. This year, I had the opportunity to try out the gold plated Virtuoso tenor saxophone. There was a silver plated, black lacquer, and un-lacquered model but the gold plated was my favorite one.

The gold plated Virtuoso had a bit more edge and played brighter throughout the horn. This sax was one of the most free-blowing horns at the show with very little resistance. It was great to see Don Bradon and Tim Ries, and to watch various artists test out the Virtuoso saxophones. I am glad that Les Silver has added another great horn to the marketplace which gives the player a great horn for the price.

To learn more about the RS Berkeley Virtuoso Gold Plated tenor saxophone go to http://www.rsberkeley.com/product_p/virtuoso-gold-plated-tenor-sax.htm.

Trevor James Signature Custom

Trevor James Signature Custom tenor saxophone

On my last day at the NAMM show, I stopped by the BARI Woodwinds booth and saw a group of saxes lined up. When I walked over, I recognized that these were the signature custom saxophones by Trevor James. I have heard a lot of buzz about these horns over in Europe, but have never seen these saxophones at any music stores in the United States.

I decided to try out the Signature Custom raw finish because many saxophone manufacturers are promoting their “vintage” saxophones and I wanted to see how this horn stacked up. The Signature Custom, like many of the saxophones I tried, was quite free-blowing. This horn had a edgy but darker sound compared to horns made by other manufacturers. I found the pearl touches to be more concave than I was used to, but one could get quickly used to this feel. The Signature Custom responded great, the overall intonation was pretty good, and I hope to see a few of these Signature Custom models in music stores around the U.S. soon.

To learn more about the Trevor James Signature Custom tenor saxophone go to http://tjsaxes.com/products/tenorsaxes/signaturecustom/signaturecustom.

Overall Thoughts

NAMM 2013 was overwhelming (but in a good way). From 2012 to 2013 I have seen more and more saxophones from Taiwan, China, Vietnam, and other countries that are spending more and more time refining their saxophones. The horns I play-tested at the NAMM show had one major thing in common, they all played great.

Every saxophone I played tested was free-blowing, had a comfortable key layout, and the intonation has gotten better and better. I am glad to see more affordable professional lines of saxophones that truly offer a value to the advancing student as well as professional looking for a pro horn, but not wanting to pay the high price associated with many vintage saxophones.

I hope this overview offers a bit of an understanding of what each horn has to offer. Hopefully this will help some of you on your quest for your first pro saxophone, or maybe just another horn to add to the collection.

Looking forward to NAMM 2014!