So why buy an old saxophone? Why buy a new saxophone?

So why should I buy an old saxophone? Why should I buy a new one?

This question gets asked and debated often. There are pros and cons, or are there? I dunno. Maybe.

First... why buy an old saxophone?

Sound!

Cause old ones sound better. Simple.

But what about new ones? Why?

Sound!

I haven't personally played many new ones that I found my sound particularly exciting on. I much prefer my old horns. I find most new horns which are inspired by Selmer sound rather clean and neutral. Not bad, just not exciting. They lack color. That includes new Selmer and the many Taiwanese horns made, Yanagisawa and Yamaha from Japan. I owned a Yanigisawa from the 70's. Was glad to move that one along. (Buyer loved it I should mention!) But they are consistent.

So yeah, sound is it. Are we done here?

Nope. I played a non high F# Borgani recently that grabbed my attention. Priced at $3k used, if I had the dough I'd have bought it. No it didn't sound like an American classic horn, it had a boldness to it like my Conns for sure, but it really had something special. I also played a Rampone & Cazzani at KB Sax recently. I played 2 of them. The first one knocked me out. The second did little for me. I'm just glad there is inconsistency out there. Another player would have a different experience. The first one reminded me a bit of my beloved Buescher with modern key work. Rich and interesting.

I also played at KB a few Tenor Madness horns with no high F#. Boring.... until I tried one of his necks on it. The whole thing came to live. I didn't like the tanky feel of the Tenor Madness but that was a great sounding horn with his neck. I did however find the Italian horns to be really friendly in the feel department.


So why buy an old horn?

Feel! They feel different. Here's where it gets more fun.

If you were raised on modern keys, if you started on a Yamaha 23, you probably won't want an old American horn. Let's start with my Conn New Wonder.

Mine is early. Notice the Euro coin I glued to the F key for comfort. The left hand is challenging too!



And the G# cluster is rather crude....... Not for everyone!





And the palm keys. They improved these a few years later. The hi Eb is kind of stupid.


And with old Conns the biggest complaint is the neck angle and where the strap hook is placed. Tenor players were expected to sit while they played. Thanks to Coleman Hawkins and Lester Young 90 years ago, we're now liberated! Woo hoo! But really, if you want an old Conn just get a gizmo like mine to lower the strap hook, or pay your tech the measly twenty bucks or so to have it moved!



All this being said about my Conn New Wonder, I'm so used to the thing none of this bugs me. I was happy to try a modern neck and get the strap hook moved, modern neck that is best is the 16M Mexican Conn from the late 60's into the 70's. But, I'm back on the old neck and I'm happy.

The 16M neck I felt improved intonation a bit, and was more focused. All good things but whatever.



My Buescher is not terribly different from the New Wonder. It does feel better but either is ok with me.










And oh yeah, I like the looks of old horns way better. I love a classy engraving be it art nouveau or art deco!




So the first 2 are really old school key work. For me a non issue but I understand those who have been playing for year on new horns. Probably not worth making the transition.

The next 2 horns were developed about the same time and are slick as can be.

The Conn 10M. I know, I know..... people love to complain about the keys on these horns, but I find them to be by far the fastest in the west. And I'm not alone in this. Check out Sal Nistico here:

https://www.youtube.com/watch?v=IEW7d-87b48


So piss off to those that like to spread this myth. The 10M was modern and to me still is. And nobody will make this key system ever again which is a shame. So if you like a 10M and want a 10M sound and feel, then you just need to buy a 10M. This may be the exception here on this post. I think these are a great crossover.

Now I can see if you have large hands, the right hand may be tight for you. In that case buy a later 10M or have the keys spread out a bit.





Lightning G# cluster!






And elegant rather industrial American engraving!


I should mention too that the 10M for me is hard to connect with. Why? It's just so easy. Free blowing and fast. I need my horns to fight me a bit. It's an amazing sounding horn live, I just feel like it's not there.

So why buy a new horn? The feel!

So last is my Selmer Balanced Action. This is what most horns gravitated to and eventually copied.





The G# cluster is what most folks like. I never like it on a modern horn, but on an old Selmer Balanced or Super Balanced, or even the King Super 20, I find it easy to get used to. I don't know why I hate it so much on the Mk6 and it's many copies, and love it on this horn, I find it to be so light on these old Selmers:




Palm keys are perfect.



These are beautifully engraved though mine is a re-lacquer so it's a mush pile!




I have to say even my re-lacquered at least twice Balanced Action sounds more lively than any new horn that is doing it's best to mimic it. At least any that I have tried. I have played a few Super Balanced Action horns and I can say I get it. They feel the best of any Selmer or Selmer type horn to me. Though with those like any old horn, sonically I've played at least one I'd pay insane dollars for if I could, and more than a few that made me go "meh, what's the point?"

Why buy an old horn? The weight! None of my horns are neck stressers.

Why are new horns so heavy? Seriously. Neck issues! I owned a couple Buffet tenors what weighed too much for me, and tried some Keilwerth New King and SML horns, so it's not just new horns really, but I have yet to play a new horn with the exception of the Italian horns mentioned here that weren't tanks!!!!! It feels heavy, I play heavy. It's psychological. It feels light I dance.

So why buy a new horn? The weight! Some folks seem to think heavy means serious. Good high quality brass. If that's what you think then you'll probably dig a heavy P. Mauriat or new Selmer Reference 54. Got for it if you find that helpful.

So this article hasn't actually helped me out much at all. I guess the point is, it's a pointless discussion. Get out there and try as many horns as you can and grab the one that speaks to you. It's an investment after all, and investment in you. Financially and time wise. The more you stick to one thing and grow with it, the more it grows with you and the more you'll get out of life.

Ok. New horns generally have better intonation. Though, my 1920's Martin soprano has pissed off more than a few good soprano players cause they had an easier time playing it in tune than their modern Yamaha or other horns. Same as a 1924 New Wonder alto I sold to a friend as a back up to his high end Yamaha. He found the Conn easier and liked the sound better. The Yamaha is his rainy day horn now!

So even that is useless. Oh well. I tried! Just focus on the music you make and grab the best tool for the job. And that's it. Simple right???

J

Okay, here we go again. Tenors tenors tenors..... Selmer Balanced Action, Buescher Aristocrat, Conn New Wonder and Conn 10M

Ugh. This has gotta stop. Writing always helps me process. So that's what I'll do with my time tonight.

Pictured from left to right:

1921 Conn New Wonder
1938 Buescher Aristocrat
1943 Conn 10M
1937 Selmer Balanced Action:

I'll talk about them in that order.

Conn New Wonder. I played one of these exclusively for about a decade. So I always like to have one around even if it's not terribly useful to me. It's kind of my standard. Out of the 4 it's the most fun to play, and well, the oldest sounding tenor I have. It's quite spread. If I go from the 10M to this horn the New Wonder sounds 'tinny'. But that's merely a perception. Once my ears get used to it, this is a big and full sounding horn. It responds well, very fast, and of course fills the room nicely without stepping on anyones toes. That's what I like about these old New Wonders. Listen to an old Billie Holiday recording with Lester Young blowing behind her. His sound fills the record yet somehow never gets in her way. It's plain haunting. I've done this with one of these, my old 1928 model and another 1921 horn I had years ago. Intonation is quite good on these old Conns. Surprisingly good for a near 100 year old horn. I do find the high end goes sharp a bit so I tend to play with a loose embouchure. But certainly easier than other horns I've played costing much more.

Conn made a lot of these horns so they are easily available.

Sound wise I find these to be plain beautiful. They don't fall apart when pushed, they just get bigger. This horn has small flat metal resonators. The guy who overhauled it wanted to mimic the Conn Reso-pads. Good thing to do in my opinion. Better than getting actual reso-pads. Just get something with the same style resonators. Not that it makes much difference in the end. More on this opinion later.

What's not to love?

This wouldn't be my first choice for studio work if I'm playing with someone else. I use an Otto Link Early Babbit Super Tonemaster #7 and a simple Rico orange box #3. I did a session this summer in Vermont with this horn and it actually did great. The other musicians loved the tone I got. So really, any of these four horns I can make work, but I'd rather use any of the other 3 for that. I've done some free sessions with this horn and find it blends quite well. I actually love the sound with flute and trumpet. Room filling but never gets in the way. So why the studio work comment? It really does have this old world sound. It's very personal to me. I loved and struggled with one of these for years. My own music I was 90% happy. Other peoples music I was 40% happy. Subjective? Of course. Your experience may be totally different.

Next, 1937 Buescher Aristocrat:

These were my next obsession. I had 2 this year that I sold and it didn't take long for me to regret it. I just got this one from JW Sax in Massachusetts. It's a killer. The neck isn't original, it's from an Elkhart Band Instrument company horn from an unknown time. I had a terrible looking Aristocrat with the same neck for a while. I feel these necks are even punchier then the original, as it these horns need more guts! This one is set up with those Noyek "waffle" resonators. The kind some horn techs like to promote. Some say it "distorts" the sound, some say it brightens the sound. Bullshit. This is the darkest Aristocrat I've owned by far. My brightest had Selmer Nylon resonators. 

I love these horns. They're smooth like velvet and out of the lot, this is by far the warmest. But it's also the nastiest when pushed. The lacquer on this horn is original. Very nice to look at even though this horn has been through some battle zones. 

These have by far my favorite engraving. And looks matter. But more importantly, I feel a bit more special playing on one cause, well, so few people play these. Ike Quebec, and Sonny Rollins played a Big B version with the same size bell. Wayne Shorter played a 30's Bundy like this. 

Intonation is great. The second best of the lot. It can go a bit sharp upstairs but it's not nearly as wild as the New Wonder. These horns cut as well. I don't find it as room filling as the New Wonder, but it's not what I consider 'laser like' focus as you see others say so often. The high end is wider that my 10M and I  love that. The low end is like that 'iron fist in a velvet glove' thing. People look at the bell and say "focused" or "compact, but I wonder how many folks have played these. You can't just lok at the bell, it's the whole picture: neck, tone hole size, bore. This is a true large bore sax. I played a Rampone recently and felt it had a kinship. Like that Rampone I find these have a big ass sound and I like the resistance. I find these to be the most flexible tonally. I can mimic a flute, bassoon, human voice or a disgusting blues saxophonist on a dime. 

I've gotten more compliments from players and non players alike on this model than any other. The first time I A/B'd one of these it looked funny with that smallish bell flare. My friend and I put it up against his 2 SML tenors, his Mk6 and a 1948 10M I had and another New Wonder. The Buescher just sat in the room better then the SML and Conn horns. It seemed louder than even the giant bell SML! The only horn that out-projected it was my friends admittedly not great 1957 Mk6. That horn was louder, but the Buescher sounded better to our ears.

So I'll keep this one around. The New Wonder is my old standard, then I played one of these for about 6 years and, well, it's my new standard. 

I used it on a gig last night after I got it in the mail 3 hours before. Felt like coming home to a sweet potato pie and good coffee.

Next, my trusty 1943 Conn 10M:

 

I was obsessed over these horns for years. A guy who worked next door to me bought one for $200 back in about 1999 and I tried to buy it off him. He never did anything with it, poor horn is probably still in it's case. A good horn is just a tool after all, and should be in service.

That's all this is: just a damned good horn. The tone doesn't compel me nearly as much as my Buescher, but when I need a solid, in tune, big sounding reliable tenor with the best action of the lot (yes, I think these have the best key work ever made. It's almost too fast!) then I grab this one. I had a King Zephyr once on a soul session I did. I also had a '41 10M in the car that I was taking back to my tech after he overhauled it but didn't chem clean it. The horn had some old Jazzers years of cigarette smoke in it and I gagged when trying to play it! I did play one line on it and the guy producing the session had me re-do everything on the 10M. I suffered! The Zephyr went bye bye. 

This one is set up with nylon resonators. Plenty of cut and top end for me. It's not as complex or compelling of a sound, but has a big dark fundamental. I have a rubber Warburton piece I used that really spices this horn up for me. It spreads the sound out nicely, better than my faithful Otto Link. 

I don't feel as connected to this horn as I do the other 2. It's almost like it's so good that I don't care about it as much. Not unusual for me, I have a classical guitar that is worth $10k-$20k and a student model worth $1k. I spend more time on the student model and I just love that guitar. But I won't be selling the expensive one anytime soon as it is heavenly. I'd just feel more bummed if I sold my beloved student one. 

I play sax stuff on this horn. When I need a sax I reach for this. The first 2 I play me. On my guitars I love to play classical on that expensive one, I play classical and everything else on my cheaper one. I play me......

And the one that most of you clicked on to see, my Selmer Balanced Action:

Always wanted one. I had this overhauled by Kim Bock at KB Sax. He did an amazing job. I had him put those brass reusable Resotech resonators in it. I'm 6 months into it now and here are my impressions:

It really has a lovely voice. The high end is the best of all of these and there is a richness to the bell keys that I've never found better. I like the key work but I like the 10M better honestly. 

Ultimately I always sound like me no matter what. But funny enough, the 10M and this horn have such a similar color to the sound. They are really close when I play them. The New Wonder and Aristocrat venture into different sonic territories but this sounds like a great saxophone. If I wanted to be a jazz player this would be the horn no doubt. Followed by the 10M.

This horn has taught me a bit about my favorite Selmer players. It requires me to play so differently just to get what I want from it. For starters:

Intonation.... It's the trickiest of the lot. I've read over and over the bell keys are sharp on these, that the bell or bow was too short, but that is a part of the sound. It sounds the most modern of the lot for sure, I played a Yanagisawa T4, my friends Grassi, and some newer Selmers and yes, the inspiration starts here. Very voluptuous low end, rich and vocal like throughout. But with regards to intonation here's my experience on this horn:

Put a digital tuner to it and I find the bell keys spot on! Play a scale on up to the top at moderate volume and it stays together. But push the thing and, well, the bell keys are still spot on and the rest of the horn goes flat!

This is not to say the horn is flawed. I've asked friends who love these and I've experimented as well. I need a firm embouchure when playing my high notes, not loose like my American horns. As my friend Lathan says: firm yet supple.

With attention, work (lots of work) I can do it. It's a matter of do I want to work hard or just enjoy myself at this point (I turned 50 this summer!). I did 2 sessions this summer on the Selmer and realized how much work I'd need to do just to get it right. They weren't that fun for me. I don't like fighting my gear. Life is too short. 

Live I think this horn probably cuts the best. I get it. There is a reason why they have such a loyal following. This may actually be the loudest horn I've ever owned. And while I don't like the Mk6 feel myself, these are unbeatable. Well, maybe the Super Balanced beats them in the feel department. 

Then there is the money part. This horn cost more dough than the other 3 combined and that was pre-overhaul! Fortunately Kim and I did a work trade on the overhaul, I revived a Selmer Varitone amp and re-wired the matching Mk6 horn for him. 

I do like this horn, but I think I like the money more than the horn. When it was in his shop a fine player tried it and fell in love with it. So maybe it needs to go to that person who knows how to work it. This is the horn I grab last cause I don't have as much fun with the thing. On the other hand, give me more time with it and maybe it'll change me for the better? I can see that.

Nah, eff it. Give me the cash!

So there you have it. There are so many great options out there. I do hope any readers find this article fun and useful. Feel free to share your experiences in the comments section. 

-J

So how does plating affect the sound of my saxophone?

Ok. Rather than use this bit of blog to come to any conclusions, I'll just share my own experience with it all. It's a point people seem to obsess over so maybe this will be helpful to those on this journey.

I started playing saxophone about 21 years ago. My first horn was an old Holton Collegiate. Since then I've owned way too many horns, never settling or becoming too attached to any of them. But the one model I've had the most experience with is the famous Conn Chu Berry from the 1920's. There were 2 that lasted the longest, one was a silver New Wonder series one from 1921, the other was a 1928 model in bare brass and for about a year I had a gold plated portrait model from 1928 that was about 25 numbers away from my brass one.

The bare brass model I played for about 9 years. I don't regret selling it, I do miss my 1921 model, that was a great horn.

So for the sake of not confusing this I'll focus on these 3, or really the 1928 models cause they had the same bore, neck etc. The early ones were different.

So my main tenor, the brass 1928 model I fought a lot. It was rather spread and had a kind of dry sound. I did all manner of experiments on it, reading SOTW more than practicing and at the end of the day it simply wasn't the right horn for me.

One of those experiments was to nickel plate the neck. Something like 5 platings. I had this done for a whopping $35 at Anderson plating. The idea was to give it more 'focus' through adding weight and 'cold it up' a bit by using nickel. When I was researching this I asked a lot of folks, Sarge at Worldwide Sax was one of them. He was generous with his emailing back and forth. He said the only plating that makes an even minor difference is nickel. And he stressed minor.....

So I got it back. It looked nice, mirror like. I had my tech cork it and pad it up and wow! We both heard the difference. More focus, a bit darker and colder. Yes!! Success!!

6 months later I was still trying to solve the same problem. I've come to determine the actual problem is most likely not accepting my own sound.

So one day I tried out a gold plated, super fancy King alto from the 20's. The sound was bright, wild, fantastic, aggressive! So I got this in my head that gold is the answer to my problems. I ordered a gold plated Chu from about 1926 from Saxquest. Dull as dishwater...... I played a few more, meh.....
I even played another King alto in gold from the 20's. Nothing like that fancy one.

It's nuts to not notice that a King is a very different horn than a Conn.

I found a gold portrait Chu that was close to mine. I bought it from Theo Wanne. Horn was a beast. It behaved close to my own. Both were very spread. I recall selling it only cause I was broke and I could get a lot for it. But overall I found I simply liked my bare brass one better. I think I changed mouthpieces around this time.

So like I said, I'm not here to draw any conclusions. I would like to add this. There is the element of the brain which can see what it wants to see, or hear what it wants to hear. The incident with my tech and I being swayed by my new shiny neck is just that.

Example: I bought a 10M from a friend 3 years ago. An ugly re-lacquered 1936 model. I hated the way it looked but loved the sound. The lacquer to my eyes was that horrible looking 70's Yamaha bright color. It bothered me. Had to play with my eyes closed. Till one day it sat next to a 70's Yanagisawa which has that cheap looking yellow lacquer. My ugly 10M took on this honey hue and became beautiful in an instant. I could not for the life of me see how I saw it before, the color was nice on my eyes. I don't know what that's about except my perception had shifted entirely.

Perception or truth #2.....

I've owned a number of silver Chu tenors from different eras, including my 1921 model. I found something harsh about the tone no matter what. They didn't stick around. They lacked the warmth I need. Hence, the bit about "colding up" my tone by nickel plating the neck. I figured the combination of bare brass with a silver or nickel neck would balance the whole matter out. It didn't......

The 1921 model had about half the silver gone and that was a favorite. So that must be why right? No silver left???

Last year at KB Sax I tried 2 of his tenor madness horns. An employee pointed out his favorite which was a silver one. I found it harsh, cold. I tried the bare brass one and found it warmer. I didn't really care for either. I did try one of his necks on the bare brass one and said "now we're making music!!!"

Yet, one of the warmest tenors I've played was a silver Balanced Action. I have played a Silver Martin that was just sweet and warm.

So is this just my perception? Or is there any truth to it? I like the way silver looks and, my alto and soprano (Buescher and Martin) are silver. I can't seem to beat them at all. They are warm, dark, beautiful sounding instruments.


I do know this. This part of the journey ended for me a while ago. When I switch brands of reeds or a mouthpiece the sound dramatically shifts. I either get what I want or not. Play on this brand or that and in a few weeks I sound like I usually do with maybe a slight improvement probably due to practice and a different reed. Rather than chase plating theory or whatever, the things that I look for in a horn is how do I connect to it? I need a bit of resistance (the 1921 had that, the 1928 ones were simply too free blowing for me, that was the problem all along!). How well does it work in a recording situation? A live no microphone situation? How does it sound through a PA? How good of a tool is it for me to achieve my goals? Do I have fun playing it or does it feel too serious? Do I want to practice on this horn or not? If not, why? Can I have faith that there is a better horn out there for me if it's a drag? If I'm not working on my ideas and distracting myself with plating questions, why am I doing this?

I find all of those questions more valid than 'how does the plating affect the sound?'

I'm not here to say it simply doesn't. I am saying I've had so many opinions get into my head that have gone deep in there, enough to keep me distracted and confused. Weights, plating, big brass strap hooks, gizmos and gadgets. I think they are fun to try, but if I have any conclusions it's this: try it today and tell me how you feel after a year. Is it making your playing life easier? Or are you still struggling with the same thing?

JB

Narrowing it down finally! Selmer Balanced Action, Conn Chu Berry, Buescher Aristocrat

This came into my life the other day. Something I've always wanted since I tried one at Roberto's in 2005....

1939 Selmer Balanced Action tenor. It's a re-lacquered one of course and needs work but plays up and down great as-is. Good enough to use on a gig. I'll be getting it overhauled soon. May have the lacquer stripped, may leave it as is.

It's a wonderful tenor, everything I could have hoped for.

So I have 3 tenors, really 4 but 2 are the same make and model. I'm narrowing it down to 2 I intend to keep.

Please forgive the lack of photos in this post. I've "upgraded" my Macbook Pro and now nothing works as it once did. I have no idea how to access my photos right now on this. Another, well, I don't swear here but.... @^*(# you Apple! You SUCK!!!!

I'll just do my best to make up for the lack of pictures with better writing.


Ok, back to tenors.

I started on a Holton and quickly switched to Martin but always wanted a Conn so..... that's where I wound up and stayed for about 15 years. I owned several, 10M, 30M, settled on a 1928 Chu Berry for 9 years. That was a love / hate relationship for years. The fellow who owns it sounds great on it and loves the thing. It's replaced his (Yamaha? Yanagisawa?) as his main horn.

That horn taught me a lot. I learned about plating (I had the neck nickel plated 5x for more focus, the result, I had a silver neck.......looked prettier!) I tried different necks, had the strap hook moved (Mexi Conn neck plus lower strap hook was my favorite combo, felt way better, more modern if you will) but the main thing I learned was it's much easier to destroy my own ideas by the relentless pursuit of equipment than by practicing and putting myself out there. Seriously, if you need to try every different neck, mouthpiece, strap hook, gizmo, gadget, you may have a commitment problem, not a horn problem.

The horn itself, I've heard a recording of myself with the original neck and a Morgan Excalibur piece I bought at Junkdude and it sounded terrific. I needed no other combo, just needed to sit still and create!

But then I tried a Balanced Action and said "Oh I get it. This thing is just that good." Trouble is, those are expensive, any Selmer is expensive if it's made in France!

So about 5 years later I bought a Buescher Aristocrat from my friend Peter. Over the next few years I eventually switched entirely and sold my trusty Chu. Why did I do that? A friend told me the Aristocrat would take me to the next place. Challenge me in the right ways. The Chu may be limiting me. Eventually I found this to be true (for me!). The Aristocrat just had more I could do with it. Such a complex, beautiful, at times nasty sound. It can be an angel or a filthy devil.

It felt like a logical step evolution wise. I sold that one but regretted it and got another which I still have. Actually I have 2, a mint 1935 model and my trusty ugly 1937 model.

So I'm in a similar place. The Balanced Action feels simply like the next logical step in the evolution of my equipment.....

So what do I like and not like about these 3 horns? I do have a Conn Transitional Chu from 1930 that I'm selling.

The Conn first.....



The Conn has the most interesting tone I feel. It's the biggest. I don't think the high end suffers one bit like some folks find. It's got a big sound from bottom to top. It's the darkest but certainly cuts well. What don't I like about it? The obvious.... the key work. And not to mention while playing it on it's own I'm in love with that sound, I quickly realized that after not playing on a Conn for the last 5 years I'd need to get in the corner and do my long tones for a year just to get used to it. I'd need to do some key mods to get used to that again too. It's a commitment thing. Right now, I just want to take it easy and not work so hard! Oh, I could get used to the keys but I just don't want to.

So it should go to someone who will enjoy it.

The Buescher Aristocrat:

My main axe now for a while. When I started playing these I didn't really like them. I just noticed though, even though the sound doesn't "feel" as big as the Conn when you play it, they have a way of putting out sound that cuts and fills a room. I spent an afternoon at Peters house trying his Mk6 from 1957, my 10M, his Chu, my Chu, a couple SML horns and his Grassi (great horn!). Other than the Mk6 and the Grassi, the Buescher kinda buried the rest. It's weird cause you look at it and it's un-impressive with that skinny little bell flare. I liked the tone quality better than all that was mentioned here too. Rich, complex, good cut. I started recording with it and that's where it hit home. It just recorded better for me than my Chu. My intonation on the Chu was good, the Bueshcer is just dead on. It's better in that department than the Conn or Selmer.

The key work I like as well. It feels natural. But the first one I sold cause I needed the dough and I was more used to the more impressive Chu.

The series one Buescher Aristocrat may be one of the best kept secrets of the horn world. No, it's not 'laser beam focused' or 'compact' or 'better for classical'. The tone is wide in the right way and disgusting when pushed. I had a King for a minute and was huge sounding but the Buescher beat that horn to death in the end. And the Buescher has a lovely flexibility that is tough to beat.

Tone wise? Oh I know I just said the Conn is probably the best, but that's subjective. I actually think the Buescher has the most interesting voice. Fine spot between the Conn and a Selmer just like they say. And as soon as I started playing it live, other horn players started asking me what it was and telling me I never sounded better. It's funny cause the 2 most sought after horns are Selmer and Conn. I ain't gonna lie here as I'm just as susceptible to pack mentality as anyone sometimes. I didn't want to give up the Conn partly cause who plays a Buescher??? Plenty of famous Conn and Selmer players, with good reason, but jazz players on a Buescher? Ike Quebec, Sonny Rollins, Wayne Shorter when he played that Bundy with Miles Davis. Oh, Maxwell Davis playing R&B too! That's all I got!

The Buescher doesn't feel limiting. Conns for me do. So do Kings, and some other horns. Psychological? Maybe. It's my brain, my choice yo!


So about my Selmer.

I've been trying out a bunch. I played a Super Balanced Action that got my attention but the price was $8750! Other than the best key work ever made, ultimately I felt the tone was not unlike my Buescher, it just cut differently. Not a difficult jump to make. And I love that low Bb on a Selmer. It's bigger on the American horns, and bigger on say a Buffet or SML, but there is this soft quality to that low Bb that kills me on a Selmer. Hard to describe in words, I just haven't gotten it like that on any other horn.

My Balanced has that. It got me right away. I can't say I like the tone more than the Buescher, but what I do like better is the immediacy of the response. There is this punchiness that gets me right away. It has a more modern sound to it than my Buescher, but not so modern like a modern horn. Still has this bit of spread I really dig. It's a big sound but not so big that I don't feel weird in an intimate setting. I can get that on my Conn too. But this horn just is easier.

It's the most 'compact' of the 3. When pushed it holds together nicely. And it's LOUD.

I was worried about the intonation after reading again and again "the bell keys were sharp" from other players better than I. Not the case with this at all. They are dead on. I struggled for about an hour with the top end going sharp but found the sweet tuning spot and now it plays in tune as well as any good horn for me.

It's easy to make the jump as the tone on my Aristocrat isn't so far away from this Selmer. Both are very warm, I'd say the Selmer is friendlier though. And certainly, the key work is tops. My favorite feel. I think in the name of progress they messed that up. I have not met a Mk6 that I dig the feel on. The Balanced Action and Super Balanced just feel more fun to me. Not machine like.

In other word the Selmer doesn't feel limiting either, like I can play anything I want. It's just easier than any other horn I've played.


So those are my 3 favorite horns. I'll be keeping my Aristocrat and the Selmer. They compliment each other in a good way and neither confuses me like the Conn does now. The Selmer feels simply like the next logical step. Something to grow with.  And, I've always wanted one. I'm not getting any younger! Gotta enjoy the rest of my stay here as best as I can!

-J