My first mouthpiece ever was a Brilhart and I totally enjoyed it. The people I used to practice with told me that it was not cool to play with that mouthpiece anymore (I was a kid at the time) and I was peer-pressured to change to a Vandoren Jumbo Java a45. This video takes me right back to those days. lol
The NEW Brilhart is about 5 to 6 times the price of the ones sold in the 90’s . I still have my size 5 purchased in the mid 90’s it was about $32 USD . $192 for a plastic mouthpiece is absurd considering the Yamaha 4/5/6 C mouthpieces . Adding an etched serial number does not constitute a 5,6,7 times price increase .
Great review. Fingers crossed they reproduce the white tonalin next. Still praying for a blue jumbo java for tenor tho as the jumbo java is my weapon of choice!
I was planning to buy this mouthpiece since when they re released it, it was very affordable, but now I was shocked to see the difference in price hahaha
I've owned many Brilharts and the variation in the body of the mouthpiece, window length, baffle or relatively no baffle is wide. Any of these could make a difference from someone's favorite to a backup piece. I have to yet find 2 that play and feel exactly alike. Current production is likely to be consistent but finding a new to replace a vintage has always been hard.
My teacher told me a story about the old Brilhart mold machine back when I took lessons in the early seventies, as I had one of the old Ebolin alto models which he was fond of, probably from the 50s. The old ones had a serial number. (40s-60s?) The company sold the rights to produce to another company and in the process of moving the machine it was dropped and was broke. The newer ones had no number and were more inconsistent. My teacher would just say the new ones were not any good and he could not find any he liked. Now these new ones have a serial number and are made from the original mold? I have only this story from Joseph Allard about the original machine and mold. It was interesting to hear this story from you Jim, as it took me back.
Well, Jim, I liked the sounds of all of them... yes, the Meyer sounds richer, but I like the new Brilhart too. Need to try several reeds, as you said. Great review!
Thanks Jim, and I could see that you were working a bit harder to get the Brilharts working in tune. But, not a great deal of difference in the sound really. It’s good that Selmer have brought back the name and an opportunity for people to buy into a big bit of history at a reasonable price. I’ve played Brilharts since 1981 and love them but, I use the Metal Level-Airs and, I have four of them and seven Rico Royal Graftinites and Metalites. Yes, for me they are reed fussy and I get the best out of them with La Voz and Rico Orange Box. I play Lawtons these days but just somehow I love my Tenor Mark 2 Metal Level-Air 7* … which I can’t replace and certainly not with a 9. Brilharts are all fairly bright anyway. Ron.
Fun fact: the word brilhart can be read as a Portuguese language word. Its a junction of two words, "brilho" witch means shine, and "arte" witch means art. So for Portuguese speakers the word can be understood as "The art of shine" but pay attention! The pronunciation of "brilhart" in Portuguese is slightly different, and a i cant describe here.
Nice review. I can hear what you prefer in the Meyer. But then again I consider them as completely different mouthpiece designs. Of the number of older Brilhart Ebolins and Tonalins I have had and still have none of them sounded the same. Some play incredible and some played just dull and uninspiring or needed more work to get the sound you'd like. Maybe that has not changed either. I happen to love Brilharts and I think it is worth the effort to try several until you find the one that fits you. But then again I am talking tenor mouthpieces here.
I honestly thought the new brily sounded the best. Clear buzzy and slightly bright. My opinion and preference of course. I have a few of these, some vintage with serial numbers and some were later production from like 20 years ago. None of them play the same, lots of variation, but when they’re good, they’re great. Curious to see how the new versions hold up
I would say your Meyer sounds much better than the Brilhart offering. Your Meyer has a full rich tone to it in comparison to the Brilhart. That factor might be attributed to the materials they are offered in, plastic vs ebonite. The cost aspect factor has to be part of the evaluation as well. The Brilhart is a bargain. Now to bring in another MP that you evaluated just last week I believe. The Selmer Paris Jazz Flow. To my ear, you sounded just brilliant on that MP, even better than your trusty Meyer. I do appreciate your honest review as always. Thank You
Hi Richard. And yes, in fact we recorded both these videos in the same day - my experience on the Selmer Jazz Flow was quite different to that of the Brilhart. By the end of the day, my head was spinning and needed to have a lie down!
Please correct my history if I have it wrong, but wasn’t plastic considered the new premium material compared to rubber for a time? AB was certainly a pioneer of MP design, but with the evolution of designs and playing styles these maybe haven’t held up as well as, say, the soloists.
Jim, nice review! Please, what is the tip opening you tested? And, I liked when you mentioned differences in materials at the end-everything else being equal, is it your opinion that the material influences the sound production/ playing , please? Thanks
I played a vintage white Brillhart for years (an expensive one, not the janky 3* black one that came stock with new saxes in those days). It was an incredibly good jazz mouthpiece. Sadly it developed a crack and I switched to a Meyer.
Just a comment about tip rails. Mouthpieces with really thin tip rails, while perhaps more responsive, in my experience have a much greater tendency to squeak and chirp. Thin tip rails just don’t have as much surface to seal the read against so any variation in embouchure, reed shape or alignment makes it more likely the sealing won’t be ideal.
Yes he did after WWII. In fact he played the Streamline model which is supposed to sound a little more punchier as opposed to the regular Ebolin. Not sure if they reissue the Streamline model also.
The older Brilharts that do not have a serial number are not the high quality products of the 40s and 50s.They continued to make them as a low price student mouthpiece, and these are without serial numbers.
I tried one of these but felt like it just didn’t have the vibe of the older ones. These I think are hand faced that’s why they are not $50. They are quality made. They fixed the number system on these. On the older ones a 4 is like a Meyer 5 or 6 opening. A star means it’s a longer facing.
The BOSS Gene Ammons played a 60’s Ebolin and his tone was unrivaled. It was given a custom opened tip that you could park a car in. Boss is Back late 60’s then claim there is a better mouthpiece. The new Brill line doesn’t come close to the vintage workmanship and design.
I would differ in your conclusion: I contend the old Brilharts were as good or superior to mouthpieces made today. Your vintage test piece is a cheaper student model that does not have a serial number, unlike the earlier high quality models with serial numbers.The Brilharts of the 40s and 50s were competing against the classic handmade mouthpieces from Otto Link , Meyer and Berg Larsen . Nonetheless, many of the top players chose to play on Brilharts including, Charlie Parker, Lester Young, Gene Ammonds, Johnny Hodges, Benny Carter, Sonny Stitt, Stan Getz, Zoot Sims, Al Cohn and on clarinet Sidney Bechet, Artie Shaw, Woody Herman and Les Brown.
Wait, I couldn't tell from the video. how did you determine the vintage piece didn't have a serial number (did I miss it)? If it's a true Carlsbad, it definitely has a serial number. In my very nerdy A/B comparison and measurements, the "NEW" Carlsbad appears to be exactly the same mold as the 1990s student model (super thick tip rails, especially near the window). I
We do our best to curate products we genuinely like or believe bring value to our customers. While this particular product may not have received the most stellar review, we acknowledge that individual preferences vary. It would be a little strange for us to stock an item we really didn't like!
I still have my Brilhart Ebolin 5* from the late 90s and it's still my favorite mouthpiece.
My first mouthpiece ever was a Brilhart and I totally enjoyed it. The people I used to practice with told me that it was not cool to play with that mouthpiece anymore (I was a kid at the time) and I was peer-pressured to change to a Vandoren Jumbo Java a45.
This video takes me right back to those days. lol
The NEW Brilhart is about 5 to 6 times the price of the ones sold in the 90’s . I still have my size 5 purchased in the mid 90’s it was about $32 USD . $192 for a plastic mouthpiece is absurd considering the Yamaha 4/5/6 C mouthpieces . Adding an etched serial number does not constitute a 5,6,7 times price increase .
You’re paying for the hand finishing. I have a tenor size 7 and it plays great.
It's not the 1990s anymore
very true...they just are after the money
They were $50 until a few years ago when Dr Wally reviewed it on his channel
@@dragonknite314 those aren’t the same. The ones you’re referring to aren’t not made from the original molds and they had little to no hand finishing.
Great review. Fingers crossed they reproduce the white tonalin next. Still praying for a blue jumbo java for tenor tho as the jumbo java is my weapon of choice!
I was planning to buy this mouthpiece since when they re released it, it was very affordable, but now I was shocked to see the difference in price hahaha
this caught my attention real quick. I used to use this mouthpiece on bari and have never heard or seen it anywhere else
I've owned many Brilharts and the variation in the body of the mouthpiece, window length, baffle or relatively no baffle is wide. Any of these could make a difference from someone's favorite to a backup piece. I have to yet find 2 that play and feel exactly alike. Current production is likely to be consistent but finding a new to replace a vintage has always been hard.
I 100% agree with you
Clicked here for a quick MP review, but stayed long time to copy/practice some beautiful phrasings 😊 👏👏
My teacher told me a story about the old Brilhart mold machine back when I took lessons in the early seventies, as I had one of the old Ebolin alto models which he was fond of, probably from the 50s. The old ones had a serial number. (40s-60s?) The company sold the rights to produce to another company and in the process of moving the machine it was dropped and was broke. The newer ones had no number and were more inconsistent. My teacher would just say the new ones were not any good and he could not find any he liked. Now these new ones have a serial number and are made from the original mold? I have only this story from Joseph Allard about the original machine and mold. It was interesting to hear this story from you Jim, as it took me back.
Well, Jim, I liked the sounds of all of them... yes, the Meyer sounds richer, but I like the new Brilhart too. Need to try several reeds, as you said. Great review!
Thank you
I would love to go visit the store
Please come on down - or across....etc
Did you measure the facings on the two Brilharts?
Are patches recommended for this mouthpiece?
If you like a darker sound the Brilhart is for you. I have one of the new Brilharts for Tenor and I really like it.
I´ve a Claude Lakey 7*3 , vintage one, sounds like Brilhart Ebolin. Its plastic made . Can you tell me about some models to up grade.
I wonder if the they will reissue the Streamline model too.
Do you have plans to record a review of the tenor Brilhart?
Thanks Jim, and I could see that you were working a bit harder to get the Brilharts working in tune. But, not a great deal of difference in the sound really. It’s good that Selmer have brought back the name and an opportunity for people to buy into a big bit of history at a reasonable price. I’ve played Brilharts since 1981 and love them but, I use the Metal Level-Airs and, I have four of them and seven Rico Royal Graftinites and Metalites. Yes, for me they are reed fussy and I get the best out of them with La Voz and Rico Orange Box. I play Lawtons these days but just somehow I love my Tenor Mark 2 Metal Level-Air 7* … which I can’t replace and certainly not with a 9. Brilharts are all fairly bright anyway.
Ron.
Fun fact: the word brilhart can be read as a Portuguese language word. Its a junction of two words, "brilho" witch means shine, and "arte" witch means art. So for Portuguese speakers the word can be understood as "The art of shine" but pay attention! The pronunciation of "brilhart" in Portuguese is slightly different, and a i cant describe here.
Great video Jim! The Meyer sounds best to me. Question; Which Meyer model is that?
I’m with you Jim, but vive la difference. There will always be people who rave about Brilharts and that’s cool. If they’re comfortable, great! 😊
You got it Jamie!
Nice review. I can hear what you prefer in the Meyer. But then again I consider them as completely different mouthpiece designs. Of the number of older Brilhart Ebolins and Tonalins I have had and still have none of them sounded the same. Some play incredible and some played just dull and uninspiring or needed more work to get the sound you'd like. Maybe that has not changed either. I happen to love Brilharts and I think it is worth the effort to try several until you find the one that fits you. But then again I am talking tenor mouthpieces here.
Interesting perspective - thank you
I honestly thought the new brily sounded the best. Clear buzzy and slightly bright. My opinion and preference of course. I have a few of these, some vintage with serial numbers and some were later production from like 20 years ago. None of them play the same, lots of variation, but when they’re good, they’re great. Curious to see how the new versions hold up
What the fu#k is a “brilly”?
Not you and that's for certain.
@@kaivrock brilhart mouthpiece
Ed Pillinger makes a wonderful Brilhart type mouthpieces. He calls it the CP. My student bought one and it plays better than my 50s tonalin
I certainly preferred the sound of new one.
I would say your Meyer sounds much better than the Brilhart offering. Your Meyer has a full rich tone to it in comparison to the Brilhart. That factor might be attributed to the materials they are offered in, plastic vs ebonite. The cost aspect factor has to be part of the evaluation as well. The Brilhart is a bargain.
Now to bring in another MP that you evaluated just last week I believe. The Selmer Paris Jazz Flow. To my ear, you sounded just brilliant on that MP, even better than your trusty Meyer. I do appreciate your honest review as always. Thank You
Hi Richard. And yes, in fact we recorded both these videos in the same day - my experience on the Selmer Jazz Flow was quite different to that of the Brilhart. By the end of the day, my head was spinning and needed to have a lie down!
I can just feel your pain!!!@@saxworldwide
Awesome!
Please correct my history if I have it wrong, but wasn’t plastic considered the new premium material compared to rubber for a time? AB was certainly a pioneer of MP design, but with the evolution of designs and playing styles these maybe haven’t held up as well as, say, the soloists.
Jim, nice review! Please, what is the tip opening you tested? And, I liked when you mentioned differences in materials at the end-everything else being equal, is it your opinion that the material influences the sound production/ playing , please? Thanks
The tip was a 6. I think it's a combination of all things mentioned, the material being part of it.
@@saxworldwide thanks for the reply and the great job presenting all these equipments to us!
And went from USD 50 to USD 200.......ufff.................why is there no 8 or 9 opening? 0.075 is very close...
What about the tenor mouthpiece ?
I played a vintage white Brillhart for years (an expensive one, not the janky 3* black one that came stock with new saxes in those days). It was an incredibly good jazz mouthpiece. Sadly it developed a crack and I switched to a Meyer.
i agree a neutral sound is what they give and and as long as i played them this has been so.
Yessssssssss 🎉
Charlie Parker played a tonalin streamline model.
Just a comment about tip rails. Mouthpieces with really thin tip rails, while perhaps more responsive, in my experience have a much greater tendency to squeak and chirp. Thin tip rails just don’t have as much surface to seal the read against so any variation in embouchure, reed shape or alignment makes it more likely the sealing won’t be ideal.
Lester Young played an Ebolin.
Yes he did after WWII. In fact he played the Streamline model which is supposed to sound a little more punchier as opposed to the regular Ebolin. Not sure if they reissue the Streamline model also.
Meyer good.
The meyer beats both the others hands down ! in my opinion......
Eu tenho uma das antigas toda preta, n 6 o som que tiro no sax alto é perfeito. Mágico. Show
The older Brilharts that do not have a serial number are not the high quality products of the 40s and 50s.They continued to make them as a low price student mouthpiece, and these are without serial numbers.
Meyer!
The original has a less bright sound. Which I prefer. The Meyer is closer to the original Brilhart Ebolin.
Saxophone and mouthpiece prices are ridiculous and obscene.
I tried one of these but felt like it just didn’t have the vibe of the older ones. These I think are hand faced that’s why they are not $50. They are quality made. They fixed the number system on these. On the older ones a 4 is like a Meyer 5 or 6 opening. A star means it’s a longer facing.
The BOSS Gene Ammons played a 60’s Ebolin and his tone was unrivaled. It was given a custom opened tip that you could park a car in. Boss is Back late 60’s then claim there is a better mouthpiece.
The new Brill line doesn’t come close to the vintage workmanship and design.
I would differ in your conclusion:
I contend the old Brilharts were as good or superior to mouthpieces made today. Your vintage test piece is a cheaper student model that does not have a serial number, unlike the earlier high quality models with serial numbers.The Brilharts of the 40s and 50s were competing against the classic handmade mouthpieces from Otto Link , Meyer and Berg Larsen . Nonetheless, many of the top players chose to play on Brilharts including, Charlie Parker, Lester Young, Gene Ammonds, Johnny Hodges, Benny Carter, Sonny Stitt, Stan Getz, Zoot Sims, Al Cohn and on clarinet Sidney Bechet, Artie Shaw, Woody Herman and Les Brown.
Wait, I couldn't tell from the video. how did you determine the vintage piece didn't have a serial number (did I miss it)? If it's a true Carlsbad, it definitely has a serial number. In my very nerdy A/B comparison and measurements, the "NEW" Carlsbad appears to be exactly the same mold as the 1990s student model (super thick tip rails, especially near the window). I
Prefer the Meyer
Do you ever give a bad review on a product ? LMAO 🤣 The original Brilhart has more depth , more meat to the sound .
We do our best to curate products we genuinely like or believe bring value to our customers. While this particular product may not have received the most stellar review, we acknowledge that individual preferences vary. It would be a little strange for us to stock an item we really didn't like!