Why the Selmer Mark VI is NOT the Best Saxophone in the World
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- Опубліковано 4 вер 2018
- #bettersax #saxophone #selmer
Jay Metcalf talks with legendary saxophone player Bob Rockwell, and tries a bunch of Selmer Mark VI tenor saxophones in Copenhagen, Denmark.
Check out Bob Rockwell here:
bobrockwellsax.com/
en.wikipedia.org/wiki/Bob_Roc...
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gottfried.dk/
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My dad got his tenor Mark VI back in the 60s, when he was still a teenager. When he was drafted during the Vietnam war, his sax playing earned him a place in the army band - the only one out of over 200 recruits that he went through basic training with not to end up in the infantry. It's very possible that instrument saved his life! I grew up to the sound of his sax, listening to it as a child, and then as I got older and developed my own piano skills playing together with him. I remember one time the great Stan Getz was playing a gig in town, but he'd become separated from his sax on the in-coming flight (that's a whole other story in itself!). With Getz needing a quality horn at short notice, and knowing my dad, the organiser of the venue called up to arrange a loan. I remember very clearly my dad excitedly rushing out, "Stan Getz needs to borrow my sax!". He passed away 10 years ago, but we still keep his sax. There is no more beautiful instrument.
Great story thanks for sharing.
BERG LARSEN METAL OR EBONITE WITH RICCO ROYAL< ATTACHED TO A " BALAANCED ACTION= THE SEARCH FOR THE " HOLY GRAIL" OF TENOR SAX SOUNDS"(TAKING PAUL DESMOND
@@SteveEcksteinDouglasDrive
Early Bergs 50s 60s made in London great blowers. Hard rock to cool jazz, so versatile.
Please make sure that sax gets passed down through the generations :)
@@SteveEcksteinDouglasDrive what is going on with this comment…
The best sax in the world is the one that calls to you for it to be taken out of the case and played.
I love my Eastman 52nd St.
Yes that pretty much nails it.
Mine don't calls from inside the case. No pets, no children, so it stands in it's stand.
(under a self-sewn dust cover, made of finest Silk)
EDIT: meanwhile, my Sax calls from inside a self made "music-Furniture" to see in my channel.
And....funny thing...the more you practice...the more it calls!
Just for your information Jay , Dexters pink markVI tenor, plays extremely well and in tune after the overhaul by Peter Jessen.
Preben, thanks for letting me know. I really wanted to try that horn but you bought it too fast! Peter does masterful work. I told Martin you got a bargain.
It's still a goddamn pink saxophone!
You’re one lucky man! I’ve been hunting pink .. gonna have to go rose gold now.... enjoy!!
Better Sax: I’m curious as to why you didn’t ask him if he was okay with you playing it.
Would it have been considered rude or in bad taste to have asked, provided you used your own mouthpiece and reed?
Although, I do get it being one of Dexter Gordon’s former saxes and would imagine he paid - a lot - for it. So, I might be afraid to touch it out of fear of damaging it in some way.
Dexter Gordon is one of my favorite sax players. The thought of having the money to buy and own the Conn 10m he played prior to switching Mark VI’s. What a dream that would be.
Did Dexter play it out of tune before the Jessen overhaul???
Everybody thinks that their sax is the best in the world.
They're wrong, my sax is the best in the world.
Mine too.:-)
Like you said, my sax is the best
My sax is the worst in the world
My 1958 Martin Indiana alto is the bestest...:-)
😂
"Don't get caught up in the gear - get something good, something solid, and then just concentrate on practising"
Great advice for a lot of things - I first learned it for photography.
@LazerDog Laz man, please... may be the man speaks another mother language, like me...
Important is the concept because is true. Regards.
And yet here we are : )
Exactly get something that works well, and if you spend enough time playing it, it'll be the best in the world to you. It's all about the journey and the relationship.
Very wise words
i bought a CAT D8H with a 68A powershift transmission, played really well push loading CAT 657G motorscrapers !
My Dad purchased his mark V1 alto around 1960, he passed in '75. Mum initially wanted to bury it with him, thankfully she never and as a boy i claimed that little Selmer and tucked it under my old bed until i graduated from high school (oddly i played cornet in the schools band).
As a young man i was misguided, pretty wild really but in my early 20's (late 80's) i began to play the Selmer and it grew into an obsession, still is. Ive no doubt it gave me a sense of purpose and kept me away from excessive substance abuse.
I had the horn overhauled last year and to my astonishment my tech actually wept when he handed it over, he loved its tone, look and playability. I have no doubt he too was captured by the old horns soul, maybe also an encounter with my Dads soul too, who knows 🙏. The tech said it is the finest alto he has ever played and offered me $10000 on the spot.
Maybe its not the best horn around in 2022 but im pretty sure nothing comes close when it comes to feel, tone and it totally oozes soul. 😎 cheers
I also have had a Yamaha YTS 62 tenor purchased new in '95 and i love that horn too, it is such a cool, raspy and warm toned horn but i could live without it if i had too, but not that selmer alto, it is magical.
Best sax (in the world)= the one you got right now.
In the early 80's I was in the market for a Selmer Mk VI Tenor. It was the horn that I dreamed about owning for the longest time. When I finally got the money together to buy one; I ended up purchasing a King Super 20. I still own that horn, and I haven't regretted my decision.
TBH, I think the Kings are just about as overrated and overpriced as the Mark VI.
I bought my King Super 20 in 1978. It plays well with a great tone.
@@pmwizard48 I was gifted a circa 1943 King Super 20 in 1970. According to a repair expert, I have a collectors piece of equipment, engravings on the pad covers, with mother of pearl on many of the keys. with the silver neck,
and it plays today (2022) as good as the day I got it.
That’s how I feel about my King. Great instrument and sounds.
I owned a King Super 20 Silver Sonic, and a Mark VI Tenor. As my son was coming up and needed a tenor, I gave him the Mark VI. The ergonomics are better on the Selmer, but the fat tone of the King was something I wasn’t willing to give up.
Hi Jay. Words of wisdom to be sure. Not sure why amateurs don't heed the advice of pros like yourself. Get a good, solid reliable horn and then take the rest of the money and take some lessons. Money better spent. Thanks for your honesty about the subject.
It's not easy to resist the attraction of saxophone mythology. I've fallen for it in the past myself. It's all about the practice though...
760Piper
Cracking advice..
You're my man...
lessons are so important, but one always believes they will have enough for the new selmer and the lessons with chris potter.
our old band director would say “sometimes it’s the screw behind the mouthpiece”
haha :)
Just bought a 50s-60s era buescher , was a public school horn, it is beat to heck.
Saturday I played a 3 hour gig on it
in the condition I got it (well I adjusted a g# leak )
Fun horn and sounds great!
Great horns.
I play on a buescher as well they are fantastic
I've got a '25 True Tone and a '36 Aristocrat, boyh tenors, and they are winners!
Yes, sometimes it's the screw: 0.2 mm and your reed wouldn't work properly 😕
I have a 39 Aristocrat alto. Sounds rich and full bodied with the right mouthpiece and reed.
My dad gave me his 1964 Mark VI alto, so it has greater value to me. He played in a band for many years with mom on the cordovox. I love the sound he used to get out of it, and I think of him every time I play it. I also have his Selmer Signet tenor and playing his favorite song "Misty" gets me every time. Thanks for all the great information, Jay.
The "greatest" saxophone in the world is the one you're comfortable on and sounds good. Spend your money on jazz records and transcribe if you want to actually sound good on the horn. Jay is correct; the secret has never been about the equipment, it's the effort you put into it. Like anything else.
I agree, you are totaly right.
But not jazz, or not exclusively jazz records only. There are a lot of excellent records in other genres out of jazz.
Best piece of advice I ever got from the late great Ernie Sola ....an east coast repairman in regard to a horn I was playing at the time...."That horn will never stop you from being great". In other words...it's the player.
I love that...
But what horn did you play? Selmer mark vi ?!?! ;-)
@@martinbjureksvanstrom1612 Conn 10M. To prove it wasn't the horn Ernie had me pick up his Selmer VI with his 6* Supertone master with the reed he had been using. My sound wasn't 1/2 of his. Same deal on my Conn10M ...we couldn't have sounded more different on the same horns / mouthpieces
@@silver10m10 I see. Good lesson! Totally agree that maybe more than 95 % of the sound comes from the player (as long as it is a fully functional horn, of course). Especially after some time playing on the horn. BUT I also think there actually are 5 %-sound, coming from the horn. And it's important to find a horn that suits your needs. But... of course even more important to find a good mouthpiece/reed setup. BUT, most important... PRACTICE... OK, back to square one!
@@martinbjureksvanstrom1612 Mouthpieces and necks can make you more crazy than horns...been there too !
Great video, I got my Mark VI Alto when I was 15, after my music director told my parents I was gifted and needed the best. This was the early 90s and my parents paid over $4K. I still have it and it took me well into my 20s after playing in the military and professionally for a bit. My military career took a turn and I gave it up. Now that I’m retired I’m looking forward to getting back into it.
Thank you for this Video. I was thrilled to see you with my old friend Bob Rockwell in my old shop Godtfrid where I used to buy my saxophones . I also had some lessons playing duets with Bob in his studio. I have a Selmer with a wonderful sound but also some of those difficulties you mentiend. Thank you again
I got my first ever sax today, a nice little Jupiter 500 Series and I feel like this is a really nice sax. I've never played a saxophone in my life until today and I know nothing, but I feel I have that little connection with my sax already. I look forward to watching and learning from more of your videos over the next few weeks, months, and maybe even years! Thanks buddy!
Update?
I got my Yamaha YTS 62 about 25 years ago. Back then I was a teenager and there were these very expensive and "cool" Selmer tenors and the "well better than nothing" Yamahas. The Selmers were to expensive, so I went for the Yamaha (my Grandma paid for it and I didn't want to make her poor). I wasn't cool, but I had a sax.
Picking up my tenor after about 20 yrs. of pause, I suddenly realised that these Purple Yamaha YTS 62 are now considered to be one of the finest ever made.
It's almost all image and marketing.
The decisive factor is on the other end of the mouthpiece.
Ahhh, mouthpieces, a whole different story. I only have one. And I always use the same reed brand and number as well ...
Ralf, you're exactly right. Don't fall for the marketing and image. Yamaha horns are great. Mechanically superior to the Selmers. The sound comes from the player 99%
I thought at the time the I payed too much for my 62 but I don't think I'll ever want a different tenor
@@bettersax I have a Selmer alto SA II and i wouldnt change it for any of the Yamahas. Many players envy me for this sax.
I didnt realise that a Yamaha is mechanically superior.My friend has a Yamaha and he is missing some small key features that Selmer has.
I love my YTS-875 EX. Just the best.
You did it the right way. Going on an endless gear hunt is a colossal waste of time.
I love the way you put things across about saxophones and the playing of them and the last few minutes were intriguing and the best common sense advice i heard for a long long time It is actually very helpful and you are such a genuine and generous in your help and advice so thanks a whole lot all the way from London haha much much appreciated Sir
As a newbie player, I bought two sopranos , altos, and tenors so I could kind of see if my problems were me or the saxophones. Also for spare parts. I found that saxophones are extremely variable. The acoustics and resonances are unique to each horn. They are almost organic machines.
Correct. VI are instruments that NEED to beome part of you. A Yamaha plays with less effort and better intune out of the box. But the sound. Have two necks with my VI made in 1956. One sounds better for Jazz than the other. 25 years as a sax tech also. Play in the key work ? Fix it. Rebuilding is a level about sticking pads and corks on. Bought my VI used for $375.00 in the 70's. Enjoy playing.
I have a YTS62. It was my first ever professional model horn my dad purchased for me. I love this horn. I grew up as a player on this horn. I completely overhauled the horn this year and it's been a new world for me with my sound and ease of play. I had alot of leakes and bent keys.
However now I am looking into a Julius Keilwirth SX90R. I really like it's sound in the altissimo range and from what I hear it's very easy to play/it gets out of the way for you. I have to fight my horn in the upper register a little and I do have trouble getting specific altissimo notes out, staying in tune on high C and altimsiso can go south quick. Hard to get altissimo notes to growl too. I have a special place in my heart for my Yamaha however. I have so many hours into it. I would consider myself an intermediate to professional player. It's all about the fundamentals and practice for the first 10-15years. However sometimes I think we need to try new horns and mouthpieces to see how a horn can respond to you. I recently upgraded to a Jody jazz 7* and that has been a game changer for my sound.
Back in ‘69 I bought my brand new Mk VI alto for $450. It took years of effort to get my parents to go along with that as they saw nothing wrong with Mom’s Martin she got used in the ‘30’s. I still play that Selmer almost daily and have lovingly cared for it for 53 years. It is still a dent free almost 100% lacquer horn which looks almost new and plays like new. The bell got slightly rotated on the body when the stage collapsed under our big band 30 years ago and last year 2 original pads were replaced. It still plays beautifully.
Mk VI the best in the world? I don’t care, it’s the best for me. I hope I can get in another 20 years with this horn and that it will then find it’s way to a serious young player second owner who will treasure it as I do.
P.s. in our home emergency evacuation list the alto is the second thing I take, right after my wife!
Fantastic!!
What about the Martin?
A theory: I find that certain vintage saxophones, such as a very good Mk6, Selmer SBA or Conns of a certain era respond in a way that makes you understand how to play saxophone, it shows you the way if you will. Once you've played these for awhile, you can then play at your best on any horn. And since today's horns have a much more consistent pitch, it is normal to find them better. My experience: I've recently acquired an SBA alto sax one of those 'magic' horns full of soul. I want to play it all the time. I now find my playing on all other horns has improved noticeably.
I don’t disagree. I just bought a 1961 con 6M alto last summer with the money from my first summer job. The thing plays like no other and I’ve feel like I’ve become a better player over the past four months since I’ve owned the thing. My embouchure has become better, my airstream is more efficient, everything is somewhat better. There’s just something about the sound and the feel of the instrument, I can’t explain it.
Wow! What great counsel in the closing! Superb presentation.
Thanks Jay for another wonderfully informative video. Great to hear your helpful thoughts and insights on this topic.
Thanks!
I play my original MarkVI that I believe my dad purchased new for me in 1963. I had been hardly playing it for over 40 years. Now I am much more active playing and performing and I believe I do have a gem.
When you have a horn that long it is definitely special and worth playing!
I have a Yanagisawa tenor for 15 years and it plays great. Good sounds, very solid, never had any problem. If I had to buy a new one today I certainly will buy a new Yanagisawa !
Sir, you're a great soul, always with sage advice for those youngsters starting out and oldsters coming back to the art of playing. Thank you for so unselfishly "giving back" to the saxophone playing community and working hard to keep this craft of playing and technology alive. I've been a continuous player and performer since '66 and your videos always bring a nod and smile. For over 50 years for me, women have come and gone; and the world has often gone to "hell in a hand basket", but a good playing sax has always been there. Play to stay young and stay young to play!
This is probably the best and most honest commentary I have seen. Thank You for your honesty in demystifying the glamour and hype of the Mark 6. When I first jumped into the saxophone world the first thing I was told was “”man, you have to get a Mark 6!” We’ll I have not purchased one yet and probably never will. I have a Keilworth Tenor sax (black & gold) with rolled tone holes that plays incredibly sweet and brings me joy and contentment. THANKS AGAIN! Great review!!!
Hey Jay. Great video. Informative as always, man. I agree with you. Having been a Selmer guy since I was a kid, I thought the Vl was it. When Yamaha came out with their 875 Custom EX tenor and 875 Custom EX ll alto, that was it for me. I tried them all side by side for a good while and knew that the 875's were going home with me. The Vl's have the mystic and cache of an incredible history and name, but it's hard to argue with superior playability, craftsmanship and quality control from a company like Yamaha.
Hell yeah...im a Yamaha man too...but mines an alto 62!
The mechanic of yamaha is may be the best.. but the best sound is by Selmer.
It’s always fun to talk about the different horns. The amount of work and instability in a vintage horn reminds me of owning an old VW...it’s gonna leak oil but you’ll have a blast anyhow.
I recently watched a video by Geddy Lee (bassist for Rush) and he just started collecting basses for the first time a few years ago. He brought up an interesting point about used basses and their playability. He mentioned that he can play an old bass and right away tell if it was played often. The instrument just plays easier for some reason. He also bought old basses which were bought and then stuffed under a bed and seldom played. Those basses were difficult even though they were in mint condition and seldom used, although vintage.
I think there is something to an instrument somehow changing over time in an intangible way which resonates differently, be it a horn or guitar or keys. Something goes into an instrument over time which makes it sing (provided it was played).
What an incredible video Jay! Such a wealth of knowledge!
Thanks for sharing all the knowledge! Great videos. Cheers
Great advice. I've played alto, tenor and bari over the years, with bari being my fave (and most time spent on it). Interesting thing, the best bari I've ever played was the beat up old Selmer Bundy II student model I played all through high school in the 80s. I'd take that one back any day!
I have the same feeling towards my high school bari from 40+ years ago, except mine was one of the "mythical" Mark VII baris that everyone says don't exist. That horn practically played itself (even though it was a little beat-up) and I miss it anytime I think of it. I recently was gifted a mid-80's Bundy II bari that's in horrible shape, but I'm looking forward to spending some quality time with it to see if I can get it back into playing condition.
In college I traded up from a Yamaha student model to a Mark VI s/n 67,000 battle axe and never looked back. Somewhere along the way I had a guy repair it who really knew how to tweak old Mark VI's and the horn gained so much more projection and volume. It was as if he unlocked some overtones that were missing. The horn is a beast!
I recently acquired a P.Mauriat system 76, with the super 6 neck...it's been really well looked after and I'm really excited about hittin the shed man
Thanks Jay.
You inspire me to keep working . Cheers.
That's great to hear thanks!
For years, I wanted a Mark VI. I love vintage horns, and have played many. Many of those years I have played a Conn 10m. I finally got the funds to start looking for another horn, and I tried a Mark VI. Boy, I was thinking it was the horn for me, until I tried a P. Mauriat. For a fraction of the price, I am happy with the P Mauriat, and have gotten over my “I need a Mark VI” syndrome. Thanks for the video and very wise words.
Ive owned plenty of vintage horns and modern horns and I too have alto and tenor P Mauriat 66UL and 67UL. They are killer horns although ergonomics on my Yamahas were better so I made brass key risers for two of the palm keys.
Hi Jay, Thanks for the heads up....just started playing Saxophone at the ripe old age of 64, and bought a used Yamaha YAS23, and had it serviced by my friend Marius. Happy with it!
The 23's are a fine sax, beginner or otherwise...you may upgrade to a 52 or 62 as time goes on, if you are so inclined.
This is the first time that I have watched your channel! Awesome advices. Subscribed it immediately. Thank you!
Thanks Ricardo!
I always appreciate Jay's knowledge and advice👍
I've had my Mk6 for 30 years - it's a 1960 model. I love the creamy layered breathy sound. I suppose I could find something cheaper and maybe better, but few listeners will notice so I can't be bothered to change. Like with other hobbies (photography...) a lot of amateurs spend tons of money on equipment - because for them it's easier than practicing to get better.
The most honest and scary sax review ever 🤣🤣🤣. Cheers!
My alto is a selmer cigar cutter circa 1927. I get the most beautiful tone out of it. It was relaquered with the keys only being silver plated. This was done by Jack Dawkes about 40 years ago. Tenor is a selmer super action circa 1947. Lovely sound. Then recent purchases were a yanagasawa baritone, as new and a Yamaha soprano like new. Now that lm 70 lm wondering whether to sell but just can’t see to do it! This video was very informative. When a sax is leaking the first things to go are decent low notes. I found a really good repair man a few years back who eliminated all problems.
Really great piece. Great info. I'm sticking with my horns, 10M Conn, and Kohlert 55 Alto with rolled tone holes, brought back from dead. These play like fabulous blast from the past pieces. I agree that time spent on a horn is the best way a great musician can be made. My college horn, King 613, hey, it's all I had! I spent 5-6 hours a day perfecting technic, tone, tonality. It was the best horn for me then, but I prefer to spend time on Pro horns now. Thanks
love the video jay...Honestly I am in love with my Mark VI, to the point that in the last 7 years I could not play any other saxophone,...I don't want to sound too naive but I believe there is also a mysticism behind instruments, is not only about the mechanics and materials....there is a soul living in the thing..:))))
agree 100%, well said
I completely agree. Back in the early 80s, I sold a BA tenor and my MK VII alto and bought Buffet Prestige tenor and alto. They are copper horns that were made in the Keilwerth factory. After about 15 years or so. I sold those horns and went on a buying-selling rampage for the next 15 years. I had everything from Keilwerth to B&S to Buffet Super Dynactions to SML to Borgani to Japan, China, Taiwan, and Vietnam. I eventually came across a 133xxx VI alto at a great price and a 105xxx VI tenor at an even better price. My soul was restored. These horns may not be perfectly in tune but the core tone of these VIs are pure gold. My search is over and no perfect Yani or Yama will compete with the soul of my VIs.
@@davethomasson6571 i agree totally..
A lot of what you say makes sense, but I own a Mark VI. Nothing quite has that "centered" sound, fat and rich where each note is it's own world. But I'm sure newer horns blow pretty well--but as long as I own one, I have no plans to sell or replace it.
Thankyou for your video's.. Always a joy..
Great video - so interesting learning about old Selmer Tenors. Makes me glad I invested in an ancient Conn 40 years ago. However, it needs your expertise!
Great video. I've had the pleasure of being a collector as well as a player.... Kings, Yamahas, Keilwerths, Goodson's couple of models, Kessler, Barones, Macsax, Martins, Yani's and most others- besides different finishes/plating - several MK VI tenors. Many had problems, but thankfully I studied and learned how to do most of the work. Here's what I do once in a while... I line up about 10 of them and go down the line with the same mp/reed combo and play them. The first one, I say "that's great". The second one, "that's also nice" - and usually the same as I do down the line. If I don't think something positive, I take it out of the lineup and re-tweak it until I'm happy with it again. I love them ALL. True that each has their slightly different character and ergos - but I consider that like a family's children - all similar but different - and all loved. BTW... I did a weight comparison check on different tenors. I forgot the exact numbers, but I do recall that the MK VI was among the lightest (6.1 lbs.... I think) and my Silversonic, the heaviest at close to 11 lbs. Another BTW... After playing any of my tenors for 15 minutes or so, I forget which one I'm playing and sound like me anyway. At the end of all this, I still whole heartedly agree with you. LAST BTW... You can see a few of my rebuilt/customized tenors … You Tube Don Gutheil "The Look of Love" (to and with my dogs)
Don, thanks for the informative comment.
I HEAD UR GAY XD
i have my uncle’s mark VI, it is one of the most beautiful saxophones ive ever had the joy of playing
Great information. Thank you for sharing.
More than perfect placement, as always. Congratulations.
When I was in 9th grade about 1979 my saxophone teacher, the great Bobby "Lips" Levine sold me one of his Selmer Mark VI tenor saxophones for $700. It was a late 50's horn and it was a one of those sellers where they got it right. I went on to study at Berklee, my first teacher Bill Pierce always wanted to buy it! It played like a dream. Sadly it was stolen from my apartment in Allston, Ma and to this day every time I see a tenor close to that vintage I eyeball it. Broke my heart because it was a great horn but that saxophone was a direct connection to my 1st mentor. I never quite found another one that played the same way, eventually when I was studying with George Garzone he steered me to Buescher 400's, had a Super 1st and then graduated into owning a 1949 Top Hate & Cane. Moral of the story its not the horn its the practice and recognizing the journey never ends. The reason why you can identify an iconic sax player after one phrase is not the gear it's the individual. My opinion is that playing saxophone should be looked at like singing with a big honking piece of brass. Let that individuality out. I Love this video because it reinforces the adage "Its the player NOT the horn". Thanks you for your video!!
Great comment, thanks Mario.
Heyy I go to Berklee, live in Allston, and I studied with George! Bill was the chair of the woodwind department for a while but he is gone, as of this year.
My home was burglarized in the 80's. They stole my Tenor and Alto. My alto was purchased for me by my mother when I was 12. It was a Bueshcer Aristocrat. Thieves really piss me off!
San Jose, California!
John Caito I feel your pain sax brother!
All Buescher saxophones will need the right thumb hook replaced....the big bell saxes sound just about the best to my ears...
I had a Selmer MkVI tenor back in the early 1970's. It was a good sax, but the best at that time, in my opinion, was the King Super 20.
Super thoughtful video and really appreciated the words of wisdom! I play on a vintage curved soprano from 1920s and resonated with what you said about the mechanics wearing down after a lot of playing and the intonation being a little different from horn to horn. It is definitely a commitment. I have tried newer horns and while they are more consistent and reliable, I have always enjoyed the different sound one can get playing older saxophones. Great video!
Which model curved soprano do you have. I've played some Holtons that are amazing and play perfectly in tune.
@@bettersax I have a vintage curved Elkhart soprano from 1920s it is a stencil of Buescher transitional soprano sounds great especially up high but the pitch can get temperamental. I also find that reeds affect pitch for me too, sometimes I pull out a soft one and I blow hard and go way flat, saw your Reed Geek video and also want to give that a try. What kind of Holtons?
I agree on the crucial health of the neck contributing to the overall awesomeness of any given saxophone.
That said, I had a 1957 mark VI that had the lacquer stripped …it was a big step up from every horn I had prior but then I came across an opportunity to purchase a one owner 1952 super balanced action and needless to say, that horn is just incredible in every way.
Regarding the importance of keys sitting correctly, check out Michael Manning‘s clamps which are custom fitted to your horn to keep that issue at bay.
so true, this guy is so true. If your good, you can make a student Bundy from the 1970s sounds sweet as honeysuckle in the spring.
Jimmy Forrest from the Basie band played on an intermediate tenor, I think it was a Bundy , back in 79/80....he "ate" that tenor :-)
Sensacional!!!~
Chega de Saudade de Tom Jobim.
Muito bacana!!! Show show!!!!
Thanks' Jay for t his cool video! I have had my Selmer Mark VI Alto now for over 45 years. I did not start out on the Selmer, but I know the Selmer Mark VI has given me an extra advantage. It is true that a new player will advance much better with a better sax. While not perfectly in tune on every note, I would not part with my baby any price! I also play Yamaha professional Tenor and Soprano, but I still love my Selmer! Can you imagine where we would be without the Selmer Sax history. Thank you Henry Selmer for all you have done for the evolution of Saxophones !
Great advice Sir. My first Alto was a New King with fluted toneholes, purchased in 1973. It was the best Alto I've ever owned. My first Tenor was a Selmer Paris from the 1959 time period. Between my Beusher Aristocrat Tenor & the Selmer, the deciding difference for Work was a brilliant Saxophonist/Boat engineer Mark Zarr, repaired the Selmer. Bam! Game on. Now I play an old Yanagizawa Alto, a Unison Tenor which is problematic and a Borgani Soprano. Looking to get a Yanagizawa Tenor, Gods timing. Keep up the good advice. Griffe in H.K.
Jay, I’ve been playin tenor since 1964. I’ve owned many.My favorite is my 1957 selmer VI.It cost me 1000 dollars in 1976. I had it on lay away 10 bucks a week for ever.still use the Otto link metal mouth piece. I treat that horn like a new mother treats an infant.I also can remember practicingmarcel mule scales and arpeggios 16 hours a day in my 20 s.love the mark 6. Maybe I got the chosen ONE. But I can’t spot the guy a mile away that never practiced to the point of not having a life. Scott Butler
You need to own one (Selmer) to understand - I agree!
I agree 100%. I started playing on a conn shooting star “mexiconn” it was held together with rubber bands for springs and I had to use a paper clip to help the neck. I learned a lot on that Sax. My repair tech at the time told me it would cost more than the horn was worth to repair so I kept playing it for a year. I then saved enough to buy an Armstrong and it was amazing. Going from a conn to that was a huge difference. I’ve owned a ton of different saxes since spent ungodly amounts on mouth pieces. I will say anything can play great as long as you put in the time to make it sound great. I now have a P Mauriat System 76 soprano, a series 2 Selmer alto, believe it or not I still have a conn shooting star tenor because I love the way it plays, I may or may not upgrade. The audience doesn’t know the difference. My tenor just looks a little more beat up. Been playing 20 years now and it’s not the horn that makes the player. It’s the attitude.
Jason, wow, our stories are so similar! I started playing in 5th grade for band, and my parents bought me a highly used Conn "Shooting Star" "mexi-conn" also - an alto though. That horn was beat up, scratched to high heaven all over the bell and bow and tube, with some major dings and dents in it on the bow... but MAN, that horn could play! All the other kids had nice shiny rental horns from the local music store, while I played this beat up old thing. Hahaha. But I, too, learned a heckuva lot on that horn, and I must say, that horn played great! I played it throughout high school and college (couldn't afford a better horn, and what the heck, it still played). I played the "school" owned horns for concert band (Mark VI bari) and jazz band (a Mark VII tenor, which I loved!) during high school. I agree with you also on both your and Jay's statement: Anything can play great as long as you put in the time and practice to make it sound great. Nobody ever made fun of me because of my beat up Conn in high school and college, because I could play. There've been a lot of saxes in my locker between then and now also, but I now own 2 altos (Selmer Super Action 80 Series II, and SML Gold Medal I which is my go to), 2 tenors (also a Super Action 80 Series II (my go to) and a SML Gold Medal I), 2 baris (Conn 12M "Naked Lady" and a Martin "The Committee"), and 1 soprano (Super Action 80 Series II). I only sold my Conn Shooting Stars alto about 10 years ago, to my Korean sushi chef locally here, who had told me he used to play sax and loved it, but no longer had a horn... I've owned 2 Mark VI's myself - an alto and a tenor - which I sold during the dot.com bubble burst recession about 15 years ago when I needed the money. Don't regret selling that alto - that thing wouldn't play for sizzle, I had 2 different horn guys try to adjust the living daylights out of it and it never played right - super tight, lots of resistance, horrible tone as a result... I even tried "cryo" treatment on it, I was so desperate to have a great Mk VI horn. Still didn't play for beans. 5-digit alto too. Good riddance. The tenor, however, was a beautifully playing horn and I regret selling it although the SML Gold Medal and Series II tenors I now have both play and sound just as good in all honesty.
Well after trying a lot of saxophones over the years , I’ve settled my journey and now play my Yamaha YTS 82Z mk11 custom in black lacquer , Theo Wayne Shiva destroyer 8 with fiberreed copper carbon in my rock/ blues band and onyx reeds for the mellower stuff , really happy with this setup
Great video. Congratulations and thank you!
54 years ago I sold my mint Mark VI tenor for $325. Tonight I will sleep good for the first time since. Thank you!
you shouldn't you could of gotten way way way more for it today. haha.
😀😀😀
@@RndomFX 🤣😂🤣
Thanks for visiting, Jason! We might have a few more horns for you to try next time you're in our neck of the woods...
Ok, I'll be planning a trip soon... Thanks for letting me film...
Jay, I thoroughly enjoyed your video on saxophones, particularly the 'myth' of the Mark VI, even though I have been a proud Mark VI owner since 1969, when I bought mine at the Navy Base Exchange in Hong Kong while on R&R. It was very helpful to learn that my Selmer may need more frequent adjustment than other horns and to also be reminded that the results are really about me, not my instrument. As a result, I'm taking my Mark VI to my favorite saxophone tech soon and will do so more often in the future. Thanks for a great video.
Steve, thanks for the comment
Interesting UA-cam video and I couldn't agree more with what you've said.
Having started playing the Sax 35 years ago, buying a Yamaha YTS23 I recently decided it was time to treat myself to a new horn so I started looking at what was around, trying loads in the process.
So many trully beautiful saxophones out there to choose from though having tried most, if not all of the high end models I bought a new Yamaha YTS62 III which to my ears plays and sounds as good as any other Sax I tried.
It feels and to my eye looks awesome too, love it.
That YTS-23 is an awesome horn, too, although I miss the articulated low C#.
My knowledge about Saxophone is a mega big ZÉRO but ... but ...its Sound .... Magic ... when it is right
Thank you Jay to share your interesting visit . Very plaisant and instructive
Thank you Pierrette.
No one has mentioned Martin. I own 3 vintage Selmers. My favorite horn is my “The Martin” “The Official Music Man Model” alto from around 1962. Feather-light action, great intonation. Sweet little horn. Really appreciate your teaching content Jay!
The Martins are great horns and definitely under appreciated. Thanks for the support.
Yep, Just Love my Martin Indian from 1953!!...love the sound and feel.
I have a Committee 1 from 1937. The later Committee 3 is the pinnacle, but the Committee 1 is pretty darn good and I think it's tone is probably the best of all three incarnations.
Apologies for another long story, but your words ring true, Jay. I've just been flooded with a wealth of information about my primary tenor, a "Whitehall" from "back in the day" as I had been told. My parents bought it for me in 4th grade for $200 when I stuck the entire year out playing alto. I wanted to play tenor more than anything in the world. I played that Whitehall until I graduated HS, and then I was fortunate enough to be able to choose my graduation gift. I chose a $2500 Selmer Super Action 80 over a car, essentially, and headed off to college at U of I. Once at U of I and playing the 80, I quickly realized that my "junker" horn sounded FAR better (to me) and projected a hell of a lot farther during Marching Illini rehearsals. Seeing as how I wanted to keep the 80 nice, as well, I switched back and started playing the Whitehall for MI and kept playing the Selmer for jazz and concert band. Well, the next genre of music to fall to back to the Whitehall was jazz. It just had something that my "professional" horn didn't seem to have. I could voice notes far easier. It just worked with me more rather than against me, which is what I feel like the 80 was doing. It just wanted to play THE NOTE. No grace, no bends, just play a nice, happy note. Well, I'm not a nice (or very good) player to be honest. The Whitehall is just a dirty horn, and I'm just a dirty player. We work well together, it seems, even though it's horribly out of tune and essentially falling apart.
Fast forward to about two weeks ago and I didn't graduate from U of I, but I have played that Whitehall for the last 30 years in local bands while my 80 collects dust in a closet. I've almost destroyed the Whitehall several times, but I've always managed to find someone to fix it. Well, the last time that I brought it in to have it repaired, the local tech told me that it was beyond his capability. That spurned me to seek out SaxQuest in Missouri, which is where it's currently being serviced. I brought it to them in a desperate attempt to find out if my horn had finally bit the dust and ended up leaving it there for a complete overhaul. This also increased my curiosity to its lineage, which I believe that I have traced to a 1951 Julius Keilwerth "The New King" Series II tenor, but I think it's a rather early one because of its construction (soldered tone holes and left bell keys). It will probably never be worth the money that I'm putting into it right now but I could not care less, it's completely priceless to me. I had to play the 80 for the first time in over 10 years last weekend. I'm really glad that I have it as a backup right now.
Pretty sure I'm going to sell it, though.
By the way, Jay, I've been binging your videos. Thank you. I have a grand total of like 10 subscriptions and you've more than earned it. I know that's a drop in the bucket, but you take the time to read and respond to comments. That's an entirely different level of help. You're a lifesaver for someone like me. I wanted to play professionally until college, and then it became a hobby after about a 10 year inconsistent break from playing. I'm not the greatest player in the world, but at 38 I'm going back and trying to relearn some of my fundamentals. I just got an Aerophone so I can practice and write music in the wee hours of the morning while my fiancee is asleep. I've always described my playing as "my best impression of a saxophonist," but am now working on earning the actual title, at least in my own head.
Hey Jay,
your videos are amazing! Keep up the great work!!
Would you be able to compare 2 sax brands: Rampone e Cazzani (R1 Jazz) and Borgani? And let us know if you still prefer Yanagisawa instead.
Cheers,
Pier
Best advice ever......find a decent set up that works for you; stick with it and practice. We're all tempted to try different mouthpieces, reeds and horns and it is a fun thing to do. But it can also be a distraction. All saxes are imperfect instruments (even modern ones) and it can take time to compensate for the variables on each individual horn without having to consciously think about it. I realised many years ago that when that inevitable urge to make a change comes around, it's almost always because we've become too used to our horn and fancy something different; and that surely, is the very reason we shouldn't.
I can't get over the fact that if you close your eyes and just listen to this video, you can't really tell when he's switching to another horn. In short, he always sounds like himself. That's why it's good to just get a horn that 1) Is free blowing; 2) Plays in relatively in tune; and 3) Has relatively good ergonomics (though I list this last because you can get used to just about any horn, e.g. the Conn 10M). I list free blowing first because there is nothing worse than playing a stuffy horn. But all this searching for "The Right One" is otherwise expensive and superfluous. Because you're always going to sound like yourself in the end.
1000% agree, thank you Jay for sharing all your knowledge.
My uncle Ray played a mark six and it produced the most incredible tenor sound. Show as I headed off to college to major in music and study under Blue lou’s dad, Lou Marini Senior, I bought MK6. I could never get that kind of sound which was big and rich as exhibited by my uncle’s saxophone. I got a sound that was more akin to a Stan Getz sound. My uncle told me that that big old fashion sound was dying out and then I should be happy with the sound I was getting. But I never was. One day after graduating from college and working as a high school band director I took my saxophone to Sherman Mitchell in Flint Michigan and Sherman put a graduated taper on the bottom of the tenon where the neck joined the body of the sax. That really opened up the sound immensely. After 13 years of teaching band my hearing was gone and I moved into teaching technology and mathematics. I had originally paid about $650 for that tractor barn and I sold it for $800 to a student of mine who is going to be playing in his college band. He needed money for his student teaching years later and he sold it for $1800. Today I play a Selmer super balanced action Sherry to Jubilee Duchenne tenor. I would never go back to playing my old saxophone but I sure wish I could get my hands on it just for sentimental value. One day a lady came in to school and asked me if I would like to buy her dad’s mark six alto and I handed her the $1000 she was asking for it and I absolutely love that horn. When it came to choosing a soprano I went with the Yanagawa WO 20 bronze curved saxophone because it throws more sound back at me and because I knew that they played well in tune. The action is also fantastic.
The "SBA" altos were sometimes real beasts. Paul Desmond was offered a new Mark VI, and he declined.
I hear ya!! In the early 1990s, I've had the pleasure of knowing the late great Harold Ashby from Duke Ellington's orchestra and he was a stone cold Ben Webster man! I was in his apartment in NY one day talking about his Ellington days and he pulls out his beloved BA tenor "Bessie"! I also happened to notice that in his closet he had an original 1960s Selmer Mark VI direct from the factory(mint condition case, original lacquer, papers, etc.). I inquired about his Mark VI and he just simply said with a frowned face "aww that piece of junk"!! To each his own:)
I agree. I've had 4 or 5 MK VI altos and kept only my SBA alto
Desmond was witty and way intelligent. I have a late 70's Yanagishawa Soprano.. plays in tune, well made, heavy, made out of real metal, gorgeous finish and I want to keep it forever.
Interesting! I have only had Selmer Mk7, super action 80 and a 1971 Mark 6. And tried many new ones in the shops, Yanagisawa and Yamaha for example. My idea was that there could be not much difference between the horns, that most difference is in the mouthpieces, but well, the Mark 6 played so much better...
Great channel Sir. Would you mind sharing the type of camera you used for this video? I like how it looks and feels.
Hi jay. You probably don't want to hear this but I have watched maybe 100 of your videos and heard you play a lot and you sound better on these Mark VIs than on any other saxophone I've heard you play on. The sound was clearly better to my ears.
Well, there are also other aspects of this matter: I never played any instrument in my life, but I love jazz festivals and like to go to Montmartre and listen to good jazz. Once, after fantastic jazz at Montmartre I said to my wife that it could be beautiful could play sax. Try to get what I get as a Christmas present…
It was an used Ytenor. It wasn’t the most expensive neither cheapest. With the instrument I got 10 lessons in local evening music school. I am a full-time MD with a lot of hobbies, mainly sport and time-consuming sailing, but I decided to take it seriously, you know:” challenge”. I took all lessons and played every day. Found out that there are different instrument and mouthpieces and blades. But smtimes could not figure out what was wrong: was it me or the instrument... Decided, that in age>50 I have no time to struggle with may be unperfect instrument, but I have money enough to have the best sax in the world and concentrate on music, not equipment. Have heard and read that Mk6 can sound marvelous or excellent, but never heard that it can sound only good…or poor. Sold my Ytenor and bought Mk6tenor. From that moment all what was wrong was my fault, not the instrument. I could concentrate on my technique, embouchure, rhythm, arpeggios, licks, music, evt. change blades, but zero problems and thoughts about the sax (cause it was the best sax in the World…) Slowly with time I figured out that good sax sounds better. My teacher plays SAII and sounds marvelous, but she plays sth like 40 years! I still can’t differentiate btween Mk6 and others when they are played by professionals, but for me and my playing its big difference. Having the best sax in the World motivates me to play, I am confident with it, I trust it, I am proud of it and may be therefore I love to play it every day. Important is, that in my ears it sounds as the best sax in the World... well, maybe not only in mines cause now, only to years later, my wife keeps the door to my playing room open, and mousse are back in the basement.
Thanks for the comment.
At last, a couple of experts with the integrity to tell the truth!!! Thank you. My Mark VI alto played poorly, the bad news->the only good news is that I sold it after a year for a profit! I have played Buffet, Mark VI, J Keilwurth (great but dark), and finally settled on Yamaha’s, alto and tenor! Way better tuning! 🚀
Yamaha makes great musical instruments and always have.
I have a RLU66 and its great
Thanks for making this video. This is very good to know.
Really informative video. I agree it's mostly the player (I used to get almost as good a tone and intonation playing on a very very basic B&S alto as I did from my SA80II Alto), but good kit can help to up to a point. After much research searching for a professional tenor with a powerful and dark tone, I bought an amazing 1962 SML gold medal I in nickel plate. Way cheaper than a modern Selmer (2k), amazing intonation for a handmade vintage horn, good economics, unique design innovations, and a dark tone which is both fuzzy, beautiful, adaptable and monstrously powerful when required. It is so fun to play. I've needed to come up with some different Altissimo fingerings, but other than I can't fault it. Genuinely think that SML are so underrated they deserve to up there with the very best.
Thank for sharing Jay, That clear up a lot of the myth about Selmer Mark 6 🎶🎶🎶🎷😎
Thanks Leo.
You can't get such a "myth" without some degree of truth to start it. Besides, that "myth" started decades ago. Keep playing any horn and it'll eventually wear out.
Okay, I play a Selmer Mk VI tenor 214,xxx. It's from 1972 but ya know what I love it. I grew up on this horn. I take really good care of it, don't play it outside in the rain, snow or cold. I use key clamps and swap it out after I play it. My repair tech has kept my horn in really great shape. It really has a sound and I love the ergonomics. This being said adjustments have been made to make it play even better.
Now at 1 time I had a late 1941 Conn 10M. The Conn played better down low than my MkVI. However up high my Mk VI had a better sound and cut more. It has a more commercial sound and my Mk VI blends really well. Although the Conn did blend well too the ergonomics were hard for me, especially the left hand pinky keys. So I ended up selling the Conn 10M.
Segue to today. I still own and play my Mk VI tenor. However today my backup tenor is a Cannonball Big Bell tenor. This horn plays very similar to a Keilwerth but is about $2K less. The feel and ergonomics are similar to my Mk VI. The intonation is really great. The sound, especially down low is close to a Conn 10M or SBA. I actually liked the Keilwerth SX-90R too but I could not afford it. The Cannonball is a great horn and it's fully ribbed and built like a tank. MY alto is also a Cannonball Big Bell. So even though I love my Mk VI I steer younger players away from them. Who knows what problem's you are buying. The Tenor Madness horns are getting great reviews too. Basically I tell students to try the Cannonballs, Keilwerths, Yani's and Yamaha's especially the YTS and YAS 62's.
Btw - Phil Woods went over to Yamaha so he could get the health insurance. They made him an employee if he endorsed their horn. When I saw him play he was still playing his Mk VI alto w/his Meyers 5M using a LaVoz reed. Okay this is long enough.
Thanks for your interesting comment Larry.
great additional info about Phil still playing his VI. I came up with him and still play my VI alto and have never left LA VOZ reeds. I will NEVER let my VI's go ( tenor, alto, super-balanced action tenor [I include this among my topic axes] yamaha soprano I'll never leave) and if I were ever in the money (...right...) I'd consider another. @ Crossland high school in the early 70's the band was outfitted with VI's across the sax section. the bari was budder.
Larry Weintraub I still have mine, bought brand new in ‘73. Been overhauled twice in 40 years. It’ll be mine till I’m gone. Not interested in any other Sax.
Yea not uncommon. For many the best gig they ever have was a horn manufacturer endorsement didn't Coltrane's
alto sell for 115k.
Brilliant Jay, You are just Sterling, a true Jazz brother with honesty and so much experience. Copenhagen is so cool !!!
Glad I watched this video. At 70 yrs old, everything he says rings true. I am NOT a great technical player, but I have good tone, play by ear, and can entertain folks, playing over 100 gigs/yr. I do appreciate a great playing horn, and the technician who knows how to make a horn play great. I bought my Mark VI tenor new in Memphis, Tn., in Jan 1966, ser #125,xxx when I was a senior in high school and playing gigs on weekends. I was playing a Conn bari sax in high school band after starting on a couple of Conn altos. Played every weekend thru college (frat party bands), then the Mark VI mostly sat in closet for 20 yrs 1972-1992 as my career was demanding, no opportunity or time to play. Started playing again in early 1990's. I dropped the Mark VI in about 2003 after a gig in Montgomery, Al. (after pampering it 37 yrs) and the tech (in Birmingham, Al) who repaired it was a great saxophonist and a skllled and experienced tech. After the repair, it played better than it had ever played before. He continued to maintain my horn until he moved to another state and I lost track of him. Twelve yrs later in Nov 2015, I was on the verge of sending it off for complete overhaul and contacted Kessler in Las Vegas. I needed a "back up" horn to play while the Mark VI would be away for overhaul. After talking to Dave Kessler, he guided me to a Kessler Custom Handmade in the nickel-silver alloy. I also went to a Yani 6 metal mp, a good choice. After playing it a week or two, I decided not to spend the $$$$ on overhaul for the Mark VI. I didnt even play it for next 18 months. Eventually I tracked down the same master tech in Pensacola, Fl., and he put the Mark VI back in great playing condition in Aug 2016. But I still preferred the Kessler. Then in Jan 2018, I had the exact same experience as he relates in this video. The Kessler had its first minor leak after 2 yrs of regular use. I picked up the Mark VI and it played so well, I thought, "why am I not playing this horn?" And I played it for the rest of 2018. But in Jan 2019 I got the minor leak corrected on Kessler, and I am back playing it again. I have great sentimental ties to the Mark VI that has been with me for 53 yrs, and I love to play it, But I sound just as good, maybe better, on the Kessler (appx $2300). Had I bought one of the premier brands (and paid 2X to 3X) I probably would have been pleased too, and I would love to own one. I played a gig this past weekend, where another very talented saxophonist had a new Cannonball tenor. It was a beauty of a horn, and he loved it. Lots of great horns today; that was not the case in 1966 when I bought my Mark VI. My soprano and alto saxes are SA80 II's from 1992. No one is going to sound better on a Mark VI than they will on any other fine horn. Every player has "their own sound", created by a variety of factors. I listen to many saxophonists, and can often tell within a couple of measures who the artist is. And it would not matter what brand horn they played.... they just sound like themselves, their signature sound.
Thank God, Someone finally had the big balls to gather these thoughts into one cohesive statement. Buying and selling can be rather addictive for some of us, and that's often a very bad thing. Eventually, if one is very lucky and moves past it and evolves, you stop chasing French unicorns and start playing any sax that feels great and fun to play. Many of the greatest players were very happy with 10M and 6M, Super 20's, etc.... But the one thing that Selmer did better than anybody was to offer their products to musicians "gratis", and free of charge saxophones were very enticing to many of the great players who often had unlimited talent and very little money in their pocket. Selmer marketed themselves very, very well. But they did not and do not have the best saxophones. Great players will still sound great on anything.
Sadly, in many cases, I fear the savings paid for their next fix...
I actually own a King Super 20 Tenor Sax. It’s such a great horn, it’s never let me down. I’ve carried it numerous all-region bands, and it’s been carried to 1 Texas State Solo & Ensemble Solo. I love everything about the horn. Kings are great horns, but so are Selmers. My second T. Sax is my Selmer Jubilee edition Black Laquer, and it’s just like the King in the sense that it’s a good reliable horn. I strongly recommend those brands if you can get hands on one of them. I’d love to try Cannonball, I heard they make pretty good horns, anyone know?
Isaac, I've liked the Cannonball horns I've tried. thanks for the comment.
When my Selmer Buescher Aristocrat 200 USA need repair I purchased a Yanagisawa 991 and played it ever since.
That's interesting. This is my local store, and where I bough 2 of my Selmers :D
"Don't get caught up in the equipment". Yes! All that really counts is the music you make with it and if your playing satisfies yourself.
I like to satisfy the audience--especially the dancers--too.
Played a Selmer Mk vi, King Zephyr, Buesher True Tone, Yamaha 62, etc. Best sax I’ve ever played was a Conn 12M (I play bari). Nothing will ever beat the 12M.
12M is the one baritone I've always wanted to try but I have never seen one in person.
Kenny - couldn't agree more. I've had and/or played many different baris (Mark VI, King Zephyr, Mark VII, Series II, Martin "The Committee", SML Gold Medal I, Yamaha etc) and I now own - and will never sell - a Conn 12M "Naked Lady", 1952 vintage. Awesome bari. My "go to" bari, every time. Deep rich tone, and the intonation is the best of about any sax I've ever played. Great action, smooth as butter and fast response, especially for a bari. I'm fixing up my Martin Committee to sell. Great horn but just never play it. I've poked around looking at old Mark VI baris from time to time, but every time I start thinking about it, I ask myself: "Really? That Mk VI is going to outplay the 12M???" and then abandon my search. Until the next year. lol
I have an older Yani B4 low a bari with a Whitehall brand on it. Won't trade it for anything.
I have one thing to add: if a mark VI is the horn you love, and it gets you practicing like crazy because you can’t put it down, then it’s the perfect horn for you. Same with any saxophone. If your bundy gets you more revved up to practice and playing more than a really nice Yamaha, then it’s the horn for you. Play what makes you happy and what makes you want to pick up the instrument
I play a very, very old King. Made in the early 1920's. And I love it!! Been playing it for over 30 years.
I'm a little late to the party, but I replaced both my alto and tenor Mark VIs with a Conn 6M and 10M.
I have no regrets, even though the ergonomics of the Conns aren't stellar in the least. It's the sound I prefer.
Ergonomics too are a personal issue - altho we treat them like they're the same on a given horn for everybody. Unless something is really hanging you up - like the Martin C melody that has a gorgeous tone, but I have to bend my left wrist out 45° and hold my right hand way back at my side to play it 😵💫- intelligent practicing can help you over most such difficulties.
FWIW, i suspect one reason modern players may have difficulty with the keywork of older horns is that so many of them play _all_ scales in _all_ keys at _all_ tempos...which players didn't necessarily do decades ago.
"The Selmer Mark 6 is highly overrated, and overpriced." MIC DROP! Loved this video. Thanks for the transparency. There is definitely a stigma of needing to play a 6 to "be legit." It's not "legit," though, if your sax is not reliable, and consistently out of tune.
I've got a purple and brass Trevor James Alto sax, I'm just learning to play so it suits me fine so far. Thanks for all the cool videos 👍🏻🎷
Thanks Tina!
What you said about how you collect saxes for fun....it reminded me of a funny moment when my uncle was teasing me a tiny bit on the snide side....about my musical instrument collection being out of control. Well, I took him by his hand and lead him out to his three car garage....where a third car could go, were all his golf club set collections he bought over the years...never heard a peep out of him after that. 🤣🤣🤣🤣🤣🤣