This has been incredible fun, this mouthpiece really clicks as it guides you to play more introverted, just like Desmond did. If you love this kind of dark, dry, velvety sound, it really makes sense to at least give it a try. Morgan does ship internationally, here is the link again: www.morganmouthpieces.com/products/morgan-dry-martini-alto-saxophone-mouthpiece If you have by the way ideas on which Paul Desmond solo to harmonize for saxophone section (like Super Sax and my recent Bird Cherokee version in collab with Elliot Deutsch), I would love to hear them! Drop them in the comments below please. /Jorre
I always thought his 1975 solo on When Sunny Gets Blue would be great to harmonize, possibly with a soprano sax on top, maybe with a flute or clarinet in there, to match his soft, sweet sound. ua-cam.com/video/ytc_LxThldA/v-deo.html
I've been a fan of Morgan Mouthpieces for a few years. I have vintage soprano piece and large chamber jazz alto piece. I'm glad to see they found their way into your orbit.
Exciting project! I play guitar but love your channel because of your transcriptions and attitude towards music, e.g. this project to explore the Desmond sound. Have a great time doing it!
Also, contacted a friend of mine who sounds like Desmond, and turns out he (Erik) is the guy who makes those mouthpieces. Small world! All the best to you. Thanks for your great vids.
Haha, that's great! I've been talking with Erik for a while now, and he is super nice, very knowledgeable and sounds indeed very close to Desmond himself! Many ideas for Desmond related project are coming up on the channel, all made possible by Erik's mouthpiece. Thanks for following the channel Paul, appreciated! /Jorre
I bought the same Gregory mouthpiece from a saxophonist friend a couple years ago. I also paired it with new old stock Rico Royal reeds which Paul also played. The sound comes really close to Paul’s. I enjoy your channel!
How would do say the old rico reeds compare to modern ones? Is there a big difference in terms of sound? Is the hardness labeling system pretty much the same or i.e. 3 plays a bit harder than a modern 3?
You’re doing a great job reviewing your mouthpieces. Very few people attempt to describe what it feels like to play on a given mouthpiece, and many don’t discuss the nuances of trying to get a certain sound out of a mouthpiece (tip size options, air volume, etc.). You are playing very close to the Desmond sound. I think the next steps to getting one with the artist is to shave off the beard and put a suit and tie on. Your hair and glasses should be kept as they are relatively close to Desmond’s.😉
Hmmm, interesting. So that Gregory mp has nothing to do with Freddie Gregory. Apart from the thin baffle how does this differ from say a V16 or a Meyer, with round inner chamber? Its a lot to do with how you play, how you breathe, the air support and speed and how you voice your oral cavity. Thats not to say an appropriate mp isn't a contributing factor. You are sounding really great, lovely. And the real test would be can you conjour up a Desmond-like original solo? Can you think as lyrically, as creatively as him. But really great work, its fascinating to explore this.
Great review! Thanks for your efforts! I would play this on the Wine Bar gigs and private functions where the music is background. Theater gigs. Jingle dates in studios. Lot of applications for a pretty, IN TUNE alto sound in commercial music.
Thanks! Did you get one yourselg? Indeed , very in tune and so pleasing to play. I've been playing it mainly now since this video, fro the background jazz gigs and other stuff. Only the loud music situations I go back to my Retro Revival Eric Marienthal, like a few days ago recording with a latin big band. But that's it
Yeah! Desmond sound approved! Just for an info. There is a dark horse within a Meyer mouthpiece range. It's called Meyer G-series. G stands for Gregory. They are comming with large tip openings as well. I have one, I play one. Gives the Desmond sound as well. Love it. It's 7. But chamber looks kinda larger than on original Gregory. 🤔 however n.5 looks identical. Cheaper option for Desmond sound. But you know, it's comming from the Babbitt factory so these are not that great as something that was done by hand from other more expensive brands. But you can choose by ordering a few. Those are still available in Europe.
From your comments, it would seem that you have actually handled the original type Desmond mouthpiece and have compared that with the piece under discussion. Would it be possible for you to actually measunre the chamber diameter? I have been trying for years and years to obtain dimensions for the original mp that Desmond used but no one, not even any of the mouthpiece manufacturers across the world has the slightest idea of any of the dimensions external or internal. I would be greatly indebted to you if you provide me with at least the chamber diameter which from illustrations appear to be circular. Thank you.
Hi Grant, yes it's a rather quiet mouthpiece as the tip openings they come in suggest. It depends on the type big band you're playing in i think, if you play mellow 30s 40s (Benny Goodman, Glenn Miller, etc) I think it works great. Buddy Rich not so much. But there is also a tip opening bigger than the 5 I played here, a 6. I have a 4 and 5 (I play on the 4 now) and there is a noticable difference going to the 5 in having more volume. Hope that helps a bit, if you have more questions, let me know
Read a ton about Desmond, including his bio, but never heard of that no. I know he smashed his earlier Gregory (tip opening smaller even) because it played too well basically 😂
@@SharpElevenMusic If he had the tip opening closed earlier in his career, that would explain his even darker sound in some early recordings (late 40s, early 50s) with Brubeck. Later he occasionally had a fairly bright sound especially in the high register, maybe after he had the tip opening increased? Possibly made his high altissimo range that was so proficient in easier to do.
There are several mouthpiece makers who claimed to have worked on mouthpieces for Paul Desmond. Santy Runyon and Claude Humber are the two names that come to mind. For everything I've read, seen, and collected via conversations is that Paul's earlier Model-A 4A18 mouthpiece was altered by shortening the facing to allow for more accessible altissimo, but his Gregory Master 4A18M was original, which is what he tended to play especially later in his career. This is all conjecture and circumstantial evidence at best, so take it with a grain of salt.
Hey Sharp Eleven, I was wondering if you would cover Paul Desmonds cover/rendition "Taste of Honey", it is one of my favorites played by Desmond, and it (in my opinion) sounds the most like Desmond, of course you do not have to, obviously, but I personally would like to see/hear it, thanks either way!
Hey man, it's kinda funny you ask, because I'm starting a Desmond tribute project that revists some of his main bands in his carreer, we will startrecording tomorrow 3 songs of the Brubeck quartet as episode 1, and in episode 2 we will take tunes from his collabs with Jim Hall. Taste of Honey is on the longlist, not completely sure but probably will make it to the final 3 tunes! keep an eye on the channel, I hope to post some of these next week. And yes, I'll be using this Dry Martini piece for those. :) /Jorre
That's in the plans and much more! In 2023 there will be much content around Paul Desmond on this channel, transctiptions, analysis and tutorials, as well as a tribute band to Desmond is in the making.
A compete treatment of the Desmond phenomenon would in truth be a total blessing to those of us desperately wanting to know all or as much as \possible about the technique, equipment, embouchure etc that Desmond used. It has been reported that Desmond had stated that he used a ‘fake embouchure’ . No one but one one knows just what this fake embouchure was or is and it is obvious that this would be an important part if not the most important part along with the mouthpiece of the Desmond technique.
Desmond didn't use a "fake embouchure" (whatever that means) but he was a clarinetist first and used a hybrid clarinet/saxophone embouchure, which tends to be a little tighter with less lower lip extended. See videos of Paul playing versus someone like Dexter Gordon and you'll see what I mean.
Hi Colin, sorry for the kate response, I seem to have missed it back in the day when you posted this. I'm now hooked to this Morgan Dry Martini to pursue my Desmond aspirations. It feels much lighter compared to the Jody jazz custom dark, where I could find a nice dark sound but with much more effort. This one makes it light and velvety, which I adore. Just recorded with a Desmond tribute band and will post that soon on the channel here, where I use this exact mouthpiece. Stay tuned, there is a bigger Desmond project on the way, definitely empowered by this mpc
You have achieved a very close approximation to the Desmond sound. I have for years and years been trying without success to obtain information related to the Desmond sound.Your video was indeed most welcomed and greatly appreciated. While your sound is an acceptable approach to the desired sound, your recording was lowered in value by the room resonance. I am sure if you had recorded your video in a recording studio your sound would have indeed passed off as the Desmond sound. It was also very gratifying to know that Morgan has produced a replica or close replica of the original mouthpiece used by Desmond. The tip opening of the original mouthpiece was 1.68 mm which is somewhat less that the no 4 mentioned by you. The number 4 is actually 1.75mm. I have written to all mouthpiece manufacturers to decipher the letter and numbers given but not one of them knows what they are all about.Desmond has stated or is reported to have stated that he used a “FAKE EMBOUCHURE”. Again no one but no one knows just what a fake embouchure is. Further Desmond always preferred that the studio where he was recording was almost saturated with moisture. Moisture in the atmosphere does of course make for crisp response and good or perfect sealing of pads.As you have a replica of the original mouthpiece would it be possible for you to check the tip opening,check the facingnleigth, check if the side walls are flat or concave, check if the baffle is flat or concave, check if the chamber is in fact 18mm in diameter and stepless throughout. I do not know just how I would be able to repay you for your kindness in helping me out with this information but I do know I would be indebted to you for the rest of my life. Thank you and all the very best.
Hi Vivian, thanks for your nice comment! Just to make sure - ad I should have done perhaps better in my communication about that -, it's not an exact copy, but rather a close approximate for as far as is possible. Erik Greiffenhagen is the mouthpiece maker, and very kind and accesible. I've forwarded your comment and this is his response "Regarding the particular dimensions, I know the take five is close in construction to an 18 chamber Gregory but not an exact copy. The facing I use for the 4 is one I found in an Erick brand book on saxophone repair and mouthpiece modification. I can glean from the biography that it's likely that Paul played a number of the same Gregory mouthpieces over his life just based on his and brubecks recollections from the biography. As well, as I'm sure you're aware I must be close just based on results that we both and others a too have achieved. More particular magic this individual might be looking for I don't have nor would claim." He also talked to Bergonzi who has played with Brubeck after Desmond about Desmonds sound, and he tried to contact the one possesing Desmonds original mouthpiece, without luck so far. You can always directly contatc Erik, or Morgan Mouthpieces through mail, their service and reponse is excellent. And they provide a free trial if you'd want to try the mouthpiece. I don't have any kind of comission on their product by the way, this is me completely free saying that. Hope this served well as an answer. I'll be doing soon more projects with this mouthpiece, as I do still love it /Jorre
You can either try directly through Facebook, that's how I communicate with him, or send to the email from Morgan mouthpieces asking for him which is bit more indirect. Erik is also in a large Facebook community group page called "Paul Desmond - The Sound Of A Dry Martini ", a tribute page to Desmond that I created
@@SharpElevenMusic Thank you for your continuing interest. As suggested I contacted Morgan via email and a person named Dave responded very promptly. The information that was given me proved beyond reasonable doubt the existence of the Afterlife. Should you be interested in the Dave communication, I would very gladly send it to you via email as it is too involved to send as a comment.
Dear Mr Hoskins, Thank you very much for your interesting letter relating in brief the history of your efforts to produce a replica of the Desmond mouthpiece. I most certainly have no intention of being polemic or argumentative , but I do find some inconsistencies in the information you have been gracious enough to offer. You state you have the original dies that might have been used in the production of the original Desmond mouthpiece. Either these are in truth the dies used for the original mouthpiece or they are not. The fact that placed in the situation that you are and with almost unlimited facilities for just about any type of research;, investigation and manufacture ,it has not been possible for you to identify just what are the dies you have acquired, this is incredible. As a qualified professional engineer having been actively engaged in the design and production of a huge range of dies and fixtures for the assembly of Chrysler automobiles , I find it impossible to accept that your dies produce something that resembles a mouthpiece. As you might have observed from the images sent to you of one of my totally hand made mouthpieces using nothing but the most ordinary and ridiculously rudimentary hand tools the suspect dies must surely be a scam. You state that the blank produced by the suspect dies must be finished by your craftsmen . This holds true even if the die produced the most accurate piece. What is most remarkable if not totally impossible ,is to believe your craftsmen hand finish the blank WITHOUT ONE SINGLE DIMENSION OF THE INTERNAL OR EXTENAL STRUCTURE. What makes for even greater impossibility ,if there could be degrees of impossibility, is that no one , but no one in your organization, has ever set eyes on the original Gregory piece much less having actually had a piece on hand from which to finish produce a replica. If the original mouthpiece is not on hand, how was the CNC machine set up? If the original mouthpiece( not the suspect dies) was on hand, I am absolutely sure you would have most gladly furnished me with the dimensions so desperately required by me. l am no threat to mouthpiece manufacturers either in the US or\UK or France or Germany or anywhere else, being located in a third world country . Believe it or not in the so called city where I live and which City boasts a population greater than that of New York State there are just three saxophonists. One is a self taught super proficient hard jazz player, another , a player of indigenous music and the third an ultra virtuoso from Berkley. While dimensions of the original mouthpiece are not available, would I be asking much too much if you could graciously provide me with the following information based on what your craftsmen suspect them or assume them to be. Total length of mp. Length of ferrule Beak angle Table angle Body angle Dimensions of window Width of side and tip rails If side walls are plane or concave If baffle is plane or concave If chamber is cylindrical, dimensions thereof Tip opening Facing length Bore length and diameter I thank you again sincerely for your taking time off to accommodate me with a reply, Most sincerely, Vivian Astridge Above is a letter to one of the owners of Morgan Mouthpieces
I got the 5 opening in February. Works real good, worth all the money but I'm still not sure if that's the sound I'm going for. I wish FedEx Germany would eventually recognize that I paid their invoice in a timely manner. 😂
Yeah its a specific mouthpiece, but it does deliver on what it promises to do, thats what I really like about it. But certainly in a very specific way indeed, only if thats your intended goal for sound
What do you think about Desmonds way he puts the mpc in his mouth? It seems to be a bit more like the old scool clarinet style with the bottom lip more over the teeth. Would this help in aiming for the dry martine sound?
Hey Joris, yes absolutely, I think you're spot on! It's not completely like a classical saxophonist, but if you compare it to say a Phil Woods, he's way more curled in there. Kinda in between Phil Woods and classical embouchure, clarinet is a good reference although probably just too tight still. Most jazz saxophonists aim for projection in their sound, I'd say Desmond went for more introspection. But also not like he's playing subtone to get the warmer sound like you correctly put, which I see on some video's teaching a Desmond type sound. Almost playing a year straight on this mouthpiece now and enjoying it big time, also acquired a SBA which feels a bit like the last missing link. I'll make a recap video on the process to try and get towards the Desmond sound in a couple of months or so.
The Jody Jazz custom dark needs some more work, but is probably bit more adaptable to todays norms of a jazz sound. But I go with the model 18 dry Martini for sure, as its core sound comes way closer to Desmonds approach imo. It works best when played subtle and gentle, exactly what Desmond displayed. I think of it like this: Dry Martini --> cool jazz (Desmond, Art Pepper), Jody Jazz HR custom Dark --> in between cool jazz and hard bop (slightly more to the hard bop side). Somehow Jackie McLean comes spontaneuosly to mind for that one, although I'm no expert on his discography
Good to know, thanks! What impressed me about my Dry Martini is how well it projects. I had in mind it would tend towards quietness because of its design concept. In fact I got the 5 for that very reason but I kind of wish I got the 4 instead.
Hey Jorge, I'm not sure if you're an Art Pepper fan, but do you think this mouthpiece can capture his sound well? His tone is so difficult to capture on most mouthpieces!
Funny enough, just a couple hours prior to your comment I listened to the Meets The Rhythm Section album in full! Not a superfan tbh, but I enjoy some of Art Peppers 50s work He did play in the 50s on that same Gregory model Desmond played by the way (but changed later a few times). But so I think it definitely makes sense to try this mouthpiece, even without that knowledge, it just has all the same characteristics in essence. I still enjoy this mouthpiece a lot, and I feel the first time ever confident enough to start my Desmond tribute band, with which we'll record soon a couple of songs and post it in April to this channel But surely go for it, I think it provides the right shape and resistance and softness for both Desmond and Pepper (and Konitz as well)
By the way, look up the cover of Art Pepper Meets The Rhythm Section and you'll see he has that same Gregory mouthpiece as Desmond with a Martin Comittee. Always loved Arts sound, his lines are pretty much more bebop to me than Desmonds, but great concept
Classic Blue Box Vandoren 3. They are good solid reeds, but I've changed since this video to Rico's 3.5, that's the one Desmonbd played and are now made by D'Addario.
"How Deep Is The Ocean" with Chet Baker might be a great start. Except from that it's quite laid back, it's really easy going with few notes, but great melodies. Or "Condor el Paso", short solo with great ideas in a diatonic way.
The Meyer G 5 is similar to the Morgan Dry Martini 4 and both give you the Desmond sound; The Aizen GR 5 is not as good in my opinion-I have all three.
My spanish isn't good, but if you're asking if I play a SBA like Desmond... no. A late Mark VI, should have mentioned that in the video now you mention, as it would definitely color it even a bit darker
@@SharpElevenMusic yes man. I think the same. King super 20, the best. XD Is a joke. Yes, i said you have to try that MPC with a SBA hehehe. Cause Desmond played a SBA.
Sorry for that, usually we put out much shorter content with the transcriptions, and didn't anticipate that UA-cam needed extra hours to get at least the full HD out. Will need to give it more time for settling next time, now it should be HD by the way
Oddly, the closest I can get to Paul’s sound is on my Otto Link Tone Edge 5, with Vandoren V16 2.5s. My E. Rousseau just doesn’t cut it, I will probably order this! Thanks!
@@SharpElevenMusic I know it has been 4 months, but I have ordered it, but it will be about 14 days until it is shipped, a little longer until delivered, thank you for bringing this mouthpiece to my attention, I will update you on how it sounds/feels.
This is a rather late Mark VI (1972) I'm playing here, still a bright sax. I have now recently bought a Super Balanced Action like Desmond played, which is quite a difference imo. A follow up on the mouthpiece after playing it for nearly a year and some new insights on Desmond sound is coming soon by the way
![Дон ДОН, Алаудинов и СБЕЖАВШИЕ из под Курска ахматовцы 😁 [Пародия]](http://i.ytimg.com/vi/dEfCf5IK26Q/mqdefault.jpg)
This has been incredible fun, this mouthpiece really clicks as it guides you to play more introverted, just like Desmond did. If you love this kind of dark, dry, velvety sound, it really makes sense to at least give it a try. Morgan does ship internationally, here is the link again: www.morganmouthpieces.com/products/morgan-dry-martini-alto-saxophone-mouthpiece
If you have by the way ideas on which Paul Desmond solo to harmonize for saxophone section (like Super Sax and my recent Bird Cherokee version in collab with Elliot Deutsch), I would love to hear them! Drop them in the comments below please.
/Jorre
I always thought his 1975 solo on When Sunny Gets Blue would be great to harmonize, possibly with a soprano sax on top, maybe with a flute or clarinet in there, to match his soft, sweet sound. ua-cam.com/video/ytc_LxThldA/v-deo.html
It is great to see someone promoting Desmond's beautiful music and sound. Thanks -you have the Dry Martini sound.
Hearing you on "Wendy", I conclude that your desmondification has been completed!
🤣 thanks John!
I've been a fan of Morgan Mouthpieces for a few years. I have vintage soprano piece and large chamber jazz alto piece. I'm glad to see they found their way into your orbit.
Exciting project! I play guitar but love your channel because of your transcriptions and attitude towards music, e.g. this project to explore the Desmond sound. Have a great time doing it!
Also, contacted a friend of mine who sounds like Desmond, and turns out he (Erik) is the guy who makes those mouthpieces. Small world! All the best to you. Thanks for your great vids.
Haha, that's great! I've been talking with Erik for a while now, and he is super nice, very knowledgeable and sounds indeed very close to Desmond himself! Many ideas for Desmond related project are coming up on the channel, all made possible by Erik's mouthpiece. Thanks for following the channel Paul, appreciated!
/Jorre
I bought the same Gregory mouthpiece from a saxophonist friend a couple years ago. I also paired it with new old stock Rico Royal reeds which Paul also played. The sound comes really close to Paul’s. I enjoy your channel!
Thanks Dan!
How would do say the old rico reeds compare to modern ones? Is there a big difference in terms of sound? Is the hardness labeling system pretty much the same or i.e. 3 plays a bit harder than a modern 3?
Sounds fantastic!
What a great video! Answered quite a few questions -- thank you!😄
Such a wonderfull sound you ve got on Wendy, congratulation.
Wow, the sound matching part was really bizarre. You get really close!
Thanks for creating and sharing this & many other interesting videos!
Thanks! Coming with a follow up and extra thoughts on this mouthpiece and Desmonds sound soon, as I have a few new insights
You’re doing a great job reviewing your mouthpieces. Very few people attempt to describe what it feels like to play on a given mouthpiece, and many don’t discuss the nuances of trying to get a certain sound out of a mouthpiece (tip size options, air volume, etc.). You are playing very close to the Desmond sound. I think the next steps to getting one with the artist is to shave off the beard and put a suit and tie on. Your hair and glasses should be kept as they are relatively close to Desmond’s.😉
Hmmm, interesting. So that Gregory mp has nothing to do with Freddie Gregory. Apart from the thin baffle how does this differ from say a V16 or a Meyer, with round inner chamber?
Its a lot to do with how you play, how you breathe, the air support and speed and how you voice your oral cavity. Thats not to say an appropriate mp isn't a contributing factor. You are sounding really great, lovely. And the real test would be can you conjour up a Desmond-like original solo? Can you think as lyrically, as creatively as him.
But really great work, its fascinating to explore this.
Great video.
I'd love to hear all 8 choruses of Tangerine plus the trading!!
Great review! Thanks for your efforts! I would play this on the Wine Bar gigs and private functions where the music is background.
Theater gigs. Jingle dates in studios. Lot of applications for a pretty, IN TUNE alto sound in commercial music.
Thanks! Did you get one yourselg? Indeed , very in tune and so pleasing to play. I've been playing it mainly now since this video, fro the background jazz gigs and other stuff.
Only the loud music situations I go back to my Retro Revival Eric Marienthal, like a few days ago recording with a latin big band. But that's it
I heard he played a no.4 reed. It would make sense with such a small tip opening. Are you playing a stiffer reed too?
Yeah! Desmond sound approved! Just for an info. There is a dark horse within a Meyer mouthpiece range. It's called Meyer G-series. G stands for Gregory. They are comming with large tip openings as well. I have one, I play one. Gives the Desmond sound as well. Love it. It's 7. But chamber looks kinda larger than on original Gregory. 🤔 however n.5 looks identical. Cheaper option for Desmond sound. But you know, it's comming from the Babbitt factory so these are not that great as something that was done by hand from other more expensive brands. But you can choose by ordering a few. Those are still available in Europe.
From your comments, it would seem that you have actually handled the original type Desmond mouthpiece and have compared that with the piece under discussion. Would it be possible for you to actually measunre the chamber diameter? I have been trying for years and years to obtain dimensions for the original mp that Desmond used but no one, not even any of the mouthpiece manufacturers across the world has the slightest idea of any of the dimensions external or internal. I would be greatly indebted to you if you provide me with at least the chamber diameter which from illustrations appear to be circular. Thank you.
Those pieces look and play nothing like a Gregory. Not sure where you got this idea
Is it a quiet mouthpiece? how would it work as lead alto in a big band?
Hi Grant, yes it's a rather quiet mouthpiece as the tip openings they come in suggest. It depends on the type big band you're playing in i think, if you play mellow 30s 40s (Benny Goodman, Glenn Miller, etc) I think it works great. Buddy Rich not so much.
But there is also a tip opening bigger than the 5 I played here, a 6. I have a 4 and 5 (I play on the 4 now) and there is a noticable difference going to the 5 in having more volume.
Hope that helps a bit, if you have more questions, let me know
Just lovely - welcome to team Morgan also 🥳
Thanks Chip! You sound great on your Morgan 🎷🔥
@@SharpElevenMusic That's very kind, Jorre. Looking forward to your upcoming Desmond project(s)!
Awesome job!
That sounds good man
I thought I read that Desmond had his mouthpiece altered, opened up, possibly by Emilio? Don't remember where I read that. Have you heard that?
Read a ton about Desmond, including his bio, but never heard of that no. I know he smashed his earlier Gregory (tip opening smaller even) because it played too well basically 😂
@@SharpElevenMusic If he had the tip opening closed earlier in his career, that would explain his even darker sound in some early recordings (late 40s, early 50s) with Brubeck. Later he occasionally had a fairly bright sound especially in the high register, maybe after he had the tip opening increased? Possibly made his high altissimo range that was so proficient in easier to do.
There are several mouthpiece makers who claimed to have worked on mouthpieces for Paul Desmond. Santy Runyon and Claude Humber are the two names that come to mind. For everything I've read, seen, and collected via conversations is that Paul's earlier Model-A 4A18 mouthpiece was altered by shortening the facing to allow for more accessible altissimo, but his Gregory Master 4A18M was original, which is what he tended to play especially later in his career. This is all conjecture and circumstantial evidence at best, so take it with a grain of salt.
@@williamsadler3752 Yes, that's exactly what I read somewhere, that he had the tip opened up to facilitate his altissimo playing (which was amazing!).
Hey Sharp Eleven, I was wondering if you would cover Paul Desmonds cover/rendition "Taste of Honey", it is one of my favorites played by Desmond, and it (in my opinion) sounds the most like Desmond, of course you do not have to, obviously, but I personally would like to see/hear it, thanks either way!
Hey man, it's kinda funny you ask, because I'm starting a Desmond tribute project that revists some of his main bands in his carreer, we will startrecording tomorrow 3 songs of the Brubeck quartet as episode 1, and in episode 2 we will take tunes from his collabs with Jim Hall. Taste of Honey is on the longlist, not completely sure but probably will make it to the final 3 tunes!
keep an eye on the channel, I hope to post some of these next week. And yes, I'll be using this Dry Martini piece for those. :)
/Jorre
Can you do a video on how to from a technical perspective approach Paul Desmonds tone? embouchure etc
That's in the plans and much more! In 2023 there will be much content around Paul Desmond on this channel, transctiptions, analysis and tutorials, as well as a tribute band to Desmond is in the making.
Can’t wait
A compete treatment of the Desmond phenomenon would in truth be a total blessing to those of us desperately wanting to know all or as much as \possible about the technique, equipment, embouchure etc that Desmond used. It has been reported that Desmond had stated that he used a ‘fake embouchure’ . No one but one one knows just what this fake embouchure was or is and it is obvious that this would be an important part if not the most important part along with the mouthpiece of the Desmond technique.
Desmond didn't use a "fake embouchure" (whatever that means) but he was a clarinetist first and used a hybrid clarinet/saxophone embouchure, which tends to be a little tighter with less lower lip extended. See videos of Paul playing versus someone like Dexter Gordon and you'll see what I mean.
How does the morgan compare to the jodyjazz custom dark you reviewed a while ago?
Hi Colin, sorry for the kate response, I seem to have missed it back in the day when you posted this.
I'm now hooked to this Morgan Dry Martini to pursue my Desmond aspirations. It feels much lighter compared to the Jody jazz custom dark, where I could find a nice dark sound but with much more effort. This one makes it light and velvety, which I adore. Just recorded with a Desmond tribute band and will post that soon on the channel here, where I use this exact mouthpiece. Stay tuned, there is a bigger Desmond project on the way, definitely empowered by this mpc
You have achieved a very close approximation to the Desmond sound. I have for years and years been trying without success to obtain information related to the Desmond sound.Your video was indeed most welcomed and greatly appreciated. While your sound is an acceptable approach to the desired sound, your recording was lowered in value by the room resonance. I am sure if you had recorded your video in a recording studio your sound would have indeed passed off as the Desmond sound. It was also very gratifying to know that Morgan has produced a replica or close replica of the original mouthpiece used by Desmond. The tip opening of the original mouthpiece was 1.68 mm which is somewhat less that the no 4 mentioned by you. The number 4 is actually 1.75mm. I have written to all mouthpiece manufacturers to decipher the letter and numbers given but not one of them knows what they are all about.Desmond has stated or is reported to have stated that he used a “FAKE EMBOUCHURE”. Again no one but no one knows just what a fake embouchure is. Further Desmond always preferred that the studio where he was recording was almost saturated with moisture. Moisture in the atmosphere does of course make for crisp response and good or perfect sealing of pads.As you have a replica of the original mouthpiece would it be possible for you to check the tip opening,check the facingnleigth, check if the side walls are flat or concave, check if the baffle is flat or concave, check if the chamber is in fact 18mm in diameter and stepless throughout. I do not know just how I would be able to repay you for your kindness in helping me out with this information but I do know I would be indebted to you for the rest of my life. Thank you and all the very best.
Hi Vivian, thanks for your nice comment! Just to make sure - ad I should have done perhaps better in my communication about that -, it's not an exact copy, but rather a close approximate for as far as is possible. Erik Greiffenhagen is the mouthpiece maker, and very kind and accesible. I've forwarded your comment and this is his response
"Regarding the particular dimensions, I know the take five is close in construction to an 18 chamber Gregory but not an exact copy. The facing I use for the 4 is one I found in an Erick brand book on saxophone repair and mouthpiece modification. I can glean from the biography that it's likely that Paul played a number of the same Gregory mouthpieces over his life just based on his and brubecks recollections from the biography. As well, as I'm sure you're aware I must be close just based on results that we both and others a too have achieved. More particular magic this individual might be looking for I don't have nor would claim."
He also talked to Bergonzi who has played with Brubeck after Desmond about Desmonds sound, and he tried to contact the one possesing Desmonds original mouthpiece, without luck so far.
You can always directly contatc Erik, or Morgan Mouthpieces through mail, their service and reponse is excellent. And they provide a free trial if you'd want to try the mouthpiece. I don't have any kind of comission on their product by the way, this is me completely free saying that.
Hope this served well as an answer. I'll be doing soon more projects with this mouthpiece, as I do still love it
/Jorre
@@SharpElevenMusic Thank you for your interest Just how do i contact Erik ?
You can either try directly through Facebook, that's how I communicate with him, or send to the email from Morgan mouthpieces asking for him which is bit more indirect. Erik is also in a large Facebook community group page called "Paul Desmond - The Sound Of A Dry Martini ", a tribute page to Desmond that I created
@@SharpElevenMusic Thank you for your continuing interest. As suggested I contacted Morgan via email and a person named
Dave responded very promptly. The information that was given me proved beyond reasonable doubt the existence of the Afterlife. Should you be interested in the Dave communication, I would very gladly send it to you via email as it is too involved to send as a comment.
Dear Mr Hoskins,
Thank you very much for your interesting letter relating in brief the history of your efforts to produce a replica of the Desmond mouthpiece.
I most certainly have no intention of being polemic or argumentative , but I do find some inconsistencies in the information you have been gracious enough to offer.
You state you have the original dies that might have been used in the production of the original Desmond mouthpiece. Either these are in truth the dies used for the original mouthpiece or they are not.
The fact that placed in the situation that you are and with almost unlimited facilities for just about any type of research;, investigation and manufacture ,it has not been possible for you to identify just what are the dies you have acquired, this is incredible.
As a qualified professional engineer having been actively engaged in the design and production of a huge range of dies and fixtures for the assembly of Chrysler automobiles , I find it impossible to accept that your dies produce something that resembles a mouthpiece. As you might have observed from the images sent to you of one of my totally hand made mouthpieces using nothing but the most ordinary and ridiculously rudimentary hand tools the suspect dies must surely be a scam.
You state that the blank produced by the suspect dies must be finished by your craftsmen . This holds true even if the die produced the most accurate piece.
What is most remarkable if not totally impossible ,is to believe your craftsmen hand finish the blank WITHOUT ONE SINGLE DIMENSION OF THE INTERNAL OR EXTENAL STRUCTURE. What makes for even greater impossibility ,if there could be degrees of impossibility, is that no one , but no one in your organization, has ever set eyes on the original Gregory piece much less having actually had a piece on hand from which to finish produce a replica. If the original mouthpiece is not on hand, how was the CNC machine set up?
If the original mouthpiece( not the suspect dies) was on hand, I am absolutely sure you would have most gladly furnished me with the dimensions so desperately required by me. l am no threat to mouthpiece manufacturers either in the US or\UK or France or Germany or anywhere else, being located in a third world country . Believe it or not in the so called city where I live and which City boasts a population greater than that of New York State there are just three saxophonists. One is a self taught super proficient hard jazz player, another , a player of indigenous music and the third an ultra virtuoso from Berkley.
While dimensions of the original mouthpiece are not available, would I be asking much too much if you could graciously provide me with the following information based on what your craftsmen suspect them or assume them to be.
Total length of mp.
Length of ferrule
Beak angle
Table angle
Body angle
Dimensions of window
Width of side and tip rails
If side walls are plane or concave
If baffle is plane or concave
If chamber is cylindrical, dimensions thereof
Tip opening
Facing length
Bore length and diameter
I thank you again sincerely for your taking time off to accommodate me with a reply,
Most sincerely,
Vivian Astridge
Above is a letter to one of the owners of Morgan Mouthpieces
I got the 5 opening in February. Works real good, worth all the money but I'm still not sure if that's the sound I'm going for. I wish FedEx Germany would eventually recognize that I paid their invoice in a timely manner. 😂
Yeah its a specific mouthpiece, but it does deliver on what it promises to do, thats what I really like about it. But certainly in a very specific way indeed, only if thats your intended goal for sound
What do you think about Desmonds way he puts the mpc in his mouth? It seems to be a bit more like the old scool clarinet style with the bottom lip more over the teeth. Would this help in aiming for the dry martine sound?
Hey Joris, yes absolutely, I think you're spot on! It's not completely like a classical saxophonist, but if you compare it to say a Phil Woods, he's way more curled in there. Kinda in between Phil Woods and classical embouchure, clarinet is a good reference although probably just too tight still.
Most jazz saxophonists aim for projection in their sound, I'd say Desmond went for more introspection. But also not like he's playing subtone to get the warmer sound like you correctly put, which I see on some video's teaching a Desmond type sound.
Almost playing a year straight on this mouthpiece now and enjoying it big time, also acquired a SBA which feels a bit like the last missing link. I'll make a recap video on the process to try and get towards the Desmond sound in a couple of months or so.
cool man, keep em commin' !
I’ve got the model 18 in a size 5 and it is excellent. How do you think it compares to the Jody Jazz custom dark?
The Jody Jazz custom dark needs some more work, but is probably bit more adaptable to todays norms of a jazz sound.
But I go with the model 18 dry Martini for sure, as its core sound comes way closer to Desmonds approach imo. It works best when played subtle and gentle, exactly what Desmond displayed. I think of it like this: Dry Martini --> cool jazz (Desmond, Art Pepper), Jody Jazz HR custom Dark --> in between cool jazz and hard bop (slightly more to the hard bop side). Somehow Jackie McLean comes spontaneuosly to mind for that one, although I'm no expert on his discography
Good to know, thanks! What impressed me about my Dry Martini is how well it projects. I had in mind it would tend towards quietness because of its design concept. In fact I got the 5 for that very reason but I kind of wish I got the 4 instead.
Hey Jorge, I'm not sure if you're an Art Pepper fan, but do you think this mouthpiece can capture his sound well?
His tone is so difficult to capture on most mouthpieces!
Funny enough, just a couple hours prior to your comment I listened to the Meets The Rhythm Section album in full! Not a superfan tbh, but I enjoy some of Art Peppers 50s work
He did play in the 50s on that same Gregory model Desmond played by the way (but changed later a few times). But so I think it definitely makes sense to try this mouthpiece, even without that knowledge, it just has all the same characteristics in essence.
I still enjoy this mouthpiece a lot, and I feel the first time ever confident enough to start my Desmond tribute band, with which we'll record soon a couple of songs and post it in April to this channel
But surely go for it, I think it provides the right shape and resistance and softness for both Desmond and Pepper (and Konitz as well)
By the way, look up the cover of Art Pepper Meets The Rhythm Section and you'll see he has that same Gregory mouthpiece as Desmond with a Martin Comittee.
Always loved Arts sound, his lines are pretty much more bebop to me than Desmonds, but great concept
What read and strength are you using?
Classic Blue Box Vandoren 3. They are good solid reeds, but I've changed since this video to Rico's 3.5, that's the one Desmonbd played and are now made by D'Addario.
Definitely how high the moon from Oberlin 53.
Which Desmond solo do you recommend to transcribe first?
"How Deep Is The Ocean" with Chet Baker might be a great start. Except from that it's quite laid back, it's really easy going with few notes, but great melodies. Or "Condor el Paso", short solo with great ideas in a diatonic way.
@@SharpElevenMusic Thanks! I will look into those
This is Selmer II?
Not sure if a Selmer II exists :) but no, this is a Selmer Mark VI, rather late model (somewhere 1969 -1970)
I think Aizen have done a Paul Desmond inspired mouthpiece - Aizen GR I think?
Yes I believe so. Didn't play it
The Meyer G 5 is similar to the Morgan Dry Martini 4 and both give you the Desmond sound; The Aizen GR 5 is not as good in my opinion-I have all three.
Tendrás que probarla con un sba no? Jejejejejeje
My spanish isn't good, but if you're asking if I play a SBA like Desmond... no. A late Mark VI, should have mentioned that in the video now you mention, as it would definitely color it even a bit darker
@@SharpElevenMusic hehe so nice videos
@@SharpElevenMusic Allow me, he's saying - Wouldn't you have to try it with an SBA? Hahahah etc.
@Chip damn... hahaha😂😂, I now realize that the only thing I actually got from that was probably only "sba", talking about overestimation...
@@SharpElevenMusic yes man. I think the same. King super 20, the best. XD Is a joke. Yes, i said you have to try that MPC with a SBA hehehe. Cause Desmond played a SBA.
That's like buying a Sire guitar and thinking you're gonna sound like Larry Carlton👀
so early i'm watching in 360p
Yeah is it just not rendered yet?
Sorry for that, usually we put out much shorter content with the transcriptions, and didn't anticipate that UA-cam needed extra hours to get at least the full HD out.
Will need to give it more time for settling next time, now it should be HD by the way
Oddly, the closest I can get to Paul’s sound is on my Otto Link Tone Edge 5, with Vandoren V16 2.5s. My E. Rousseau just doesn’t cut it, I will probably order this! Thanks!
Great! Let me know how it works out for you when you get one here in this comments
@@SharpElevenMusic I know it has been 4 months, but I have ordered it, but it will be about 14 days until it is shipped, a little longer until delivered, thank you for bringing this mouthpiece to my attention, I will update you on how it sounds/feels.
Great! Let me know
@@SharpElevenMusic Does the mouthpiece come with a ligature alongside?
@@rwandanstarbux1494 yes it does! A simple but very effective ones, it's the one you can see in this video
Do you think Morgan or Jody custom dark more near to Desmond sound?
👍👍👍😁
Just wondering what Saxophone are you playing for this video clip? Thanks
This is a rather late Mark VI (1972) I'm playing here, still a bright sax. I have now recently bought a Super Balanced Action like Desmond played, which is quite a difference imo.
A follow up on the mouthpiece after playing it for nearly a year and some new insights on Desmond sound is coming soon by the way