Tatay #2! Cheap classical guitars.

Just got this one in the mail, another Tatay no. 13.

Outside of the cosmetics it is nothing at all like my #1. Completely different sound. A remarkably nice sound for sure, lots of bass. I set it up with LaBella hard tension strings. My other one ha medium hard. I think those suit these guitars a bit better.

I read one Tatay fan say the tone color is "Orange". That's the color that comes to mind on this one.

My other one, I have no idea of the era it was built in. I believe it to be much older. This one has a slimmer more comfortable neck whereas my #1 us bigger and I'd say while it's comfortable it's more 'crude'. But that being said, everything about the construction of this guitar is more 'crude'!

My #1 sports some nice rosewood back and sides (I don't know if it's Brazilian, it's definitely rosewood) whereas this one is Mahogany.

This is now my throw it in the gig bag and schlep it to lessons guitar. I like it. Still more inspiring to me than any guitar made now in a similar price bracket. My Favilla is going to a friend, glad to send it to him.

There is little information about this brand, would love to know more. Supposedly the earlier ones were luthier built. My #1 feels and appears to have a lot more attention dedicated to making it. This one seems not too different than other factory made Spanish guitars I've played. Better than many of them but definitely not a "serious" guitar.

Still, worth every penny I paid for it. It does sound quite nice and projects the way I like it to!

-J

One of my favorite things....Tatay Classical Guitar. And a story.

When I was a teenager I studied with an interesting teacher named Bruce. He was largely a classical player, made his living performing and giving lessons. Around my house my mom always had a couple nylon string guitars. A battered Silvertone that was wrecked by some renters who put steel strings on it (I found it neglected in the basement 4 years ago and glued it back together, hence starting my new path). and she had a beautiful Giannini made in Brazil that we bought at Music and Arts Center in Catonsville. She played a few folk songs and a wrote some as well, taught me my basic chords. I think she and my dad knew something about the importance of learning classical, maybe it was intuition or just their generation.

I just wanted to rock. I wanted electric. I wanted a Stratocaster. I wanted to skip all that.

My mom taught me my first chords. My dad showed me how to change the strings. In a panic I started the day before high school as I sucked at everything else. How was I going to fit in? I liked Jimi. Rock stars were cool.

So I advanced quickly. My dad bought my first Stratocaster, an awful late 70's model, at Bills Music house in Catonsville. His words: "I'll do this, but you need to show me results or you gotta pay me back in a year." I didn't need prompting, but I'll say this. That was probably the best thing he ever did for me. A great lesson in accountability. So grateful for that moment. I worked my ass off. And $389 in 1983 was way more than a 15 year old can afford cutting grass!

I loved Jimi, Keith, Clapton, but I always had a thing for nylon strings. We had a couple Carlos Montoya records on the shelf, along with Getz/Gilberto. And I had a deep secret admiration for the kids in the school orchestra program. I was always a bit envious of them. Secretly envious. So I was glad to have studied with Bruce.

But there was a couple things off about it. He started me on Bach's Bouree and Gavotte. I can certainly play those now but at the time, these were over my head. In hindsight I was one who could have benefitted from a method book. Just exercises and scales and patterns and easier songs. I wasn't the type to rise to the challenge partly cause other things came so easily to me. So I gave up. Bruce worked with me on improvisation, Indian classical scales and other things. Understand, this was a teacher who sent people to Juliard. I simply felt I wasn't 'good enough' even though I enjoyed so much else he had to share. I am grateful to him, he was a great fellow and very cool teacher. I had my youthful impatience and arrogance to contend with as well. I may not have accepted the direction a stricter classical regimen would have offered anyway. But, I now see the importance of it. That foundational stuff.

On top of that, I knew a good instrument when I played one. 6 months after getting my '79 Stratocaster I tried a '66 and immediately knew that for another $165 I would have a far superior instrument. That thing sang, mine coughed!! Price $550 (custom color Lake Placid Blue!!). I paid $389. Ugh. Dad wasn't interested in a brat who needed an upgrade! And I wasn't really a brat so I didn't whine about it. Best to love what you got and I did just that!

Bruce had a house full of classical and Flamenco guitars. I played a few. Prices started around $2k! I had a Yamaha that I bought from him for $75. It was decent... but, next to a Ramirez of Dauphin, pure sadness.

Nice classical for $2k+ or real Stratocaster for around $500. I went that direction.

Yup, my choice. Not pointing fingers here. And it was a good choice. I made a lot of people happy with all that sound.

So fast forward too many years and I recover my mothers beat ass Silvertone, glue it back together and record some tracks with it. Cheap, plywood, nylon string guitar. Really crappy. And I fell in love again. My electrics sit on the wall and I'd pick that thing up daily.

Last year a friend was visiting and we went into Main Drag music in Williamsburg and I upgraded to a 40's made Favilla. Again, not a great guitar but better than that Yamaha. I went to Sam Ash and bought the Carcassi Method For Guitar book and have been practicing daily out of it. I have no agenda, I don't aspire to be a concert guitarist at the age of 50 here, I just enjoy playing it so much and it's showing up in my own music in ways I didn't think would happen. My days off I'm up to 4+ hours.

So I needed to get something better. I've been working hard and wanted to treat myself. I played an incredible Ramirez from about 1903. Over $10K!!!! If cost were no object I'd own that guitar. It's stunning and has such a beautiful sound. But my rule is if I'm making a big purchase from my fun money account, I need to have double that in there. I don't have that and would rather work towards a house!

I'm good at finding interesting guitars that make me happy. I wanted something old, made in Spain, had to have Brazilian rosewood back and sides, and a nice sound and playability. I came across this Vincente Tatay........

It was hard to find any information on these about price. Lots of forum confusion. I did find a later New York produced one for $2k on a website that only has high end classical guitars (that one is beautiful!) and Retrofret had one listed for $3200 that sold for an unknown offer. I know that shop, great place and they usually get close to their asking price.

Neither guitar looked like this. And most Tatay guitars sell for considerably less. I mean, we're talking $100-$300!

Early ones are supposedly luthier produced, later they built a large factory and made a ton of instruments. This one was $1200. I didn't feel great about that price but decided to take a gamble. It fit what I was looking for: all solid wood including beautiful rosewood back and sides, ancient, the owner liked it quite a bit. Projection is good he says. The label we couldn't find....

So, I decided to go for it. Yes, I probably overpaid, I just found another similar one for a whopping $295! Bought that one as well.......Different label inside, probably later but same beautiful cosmetics.

Once I restrung it and set it up to my liking I found that I absolutely love this guitar. It's very warm, nice deep bass and clear highs. No, it's not as refined as that beautiful Ramirez but, I did get to play them side by side and found myself not feeling that wanting feeling on the Tatay. It's worth every penny of my hard earned $1200 to me. Plus it has that unusual "who made it" thing I like. Best part is, I do not want to put it down. When I need to go out on a date, go to earn a pile of money....I get bummed cause I just want to keep playing, keep improving, keep enjoying the sound. The only bug about this guitar was the intonation, but I fixed that and now I never want to put it down!

So if you are looking for a really good instrument that isn't worth it's weight in gold, do consider trying one of these out. It's important to have a guitar you love. It keeps the energy going forward.

Next step, find another instructor to help me get to the next level. I'm ready, more humble, more patient, and doing it for no other reason that the joy of playing. I like this chapter the best....


More photos:

Oh yes, Rosette is quite beautiful on this model. Has pearl and nice wood, much like the Ramirez I tried. I do like a beautiful instrument:

-JB

How did you get so good?

I love this question....how did you get so good?

I get asked this by my kid students all the time. "How do you do that? How did you get good at that?"

I do my best to let them know it's an exercise in persistence, appreciating the little bit you did learn already and all that good stuff.

I've been in a real woodshed period. Lots of hours practicing classical guitar, lots of hour practicing my saxophone. The fruits are starting to show and it feels good. I feel good. I don't yet know what it's for or why I do this, but have just surrendered to it and accepted the mystery. I'm having this weird temporary experience called life bookended by 2 great mysteries. I could haven been a soldier, fireman, wall street guy, engineer, father, but chose to make music and dedicate my time to this activity that brings me almost no money but a lot of joy.

So I was recently at a party with my parents. The host and his friend had a little jam session and they played some classics. I had my guitar in the car so I went and grabbed it to sit in. Some of the folks were astounded. One guy was near tears talking to me. I was moved by that. I didn't know it was possible.

He asked me how I got to this place......

It sounds bitter but it's not. I looked around and thought "well, other than my 5 year old niece and the 2 teenagers here, I'm the only person in this room who has probably never been married and who doesn't have a family...."

I didn't say this out loud, but the thought naturally popped into my head.

This has been a lonely existence. I'm quite sane but accept that I'm not easy to be around either. There is always melodies in my head, things I'm working out musically, solving this seemingly unending puzzle. 90% of my days I'm quite okay being alone. I'm defensive of my time. The minute I'm sharing too much of my time I lose the sanity part.

One friend said something about the 'sacrifice Jef made' or something like that. It's no sacrifice. It's just my life. It's that simple. When the music is good it's all worth it. Being this age and on my own, and it's quite possible I may remain alone, I've accepted this, I best make the most of this creation. Maybe this is my child? These sounds, the few records I've been a part of. I mean, why not?

So it's not to say that all artist are difficult and are just good at being lonely creatures. I'm open to any possibility to share this life. My feelings about the whole matter can change as soon as I click publish. And certainly it's worked out for others. And I still have a long way to go before I can call myself a good musician. And I'm digging this journey. Maybe I'll someday get that good.

JB

On faith, patience and progress.

This summer, Gospel of Mars hit the 5 year mark. Five years.... how did that happen? We have our first LP coming out soon, something I knew would happen but had little idea of when.

We could have done it sooner, but really, everything happens in it's own perfect time, in it's own perfect way. And there have been plenty of setbacks with this LP. For some reason I don't feel the leat bit frustrated. It's at the pressing plant and I have no control over anything. I don't know when it will be in our hands, I just know that it will be in our hands.

There was a point in my life not long ago where everything seemed to be in a rush. I would be playing in 4 different projects, my heart may have been in one of the 4, the rest were things that 'may become successful' or projects that I felt weirdly obligated to do. I was stretched thin and not particularly happy. Everything was urgent. Life was urgent. And whatever music I had my heart in I allowed to suffer. I had little faith in it.

Then I hit bottom.

I learned to say no. It forced me to be honest. The bottom sucks but if you let it, it's the greatest teacher.

If we forced ourselves to make a record 4 years ago, it wouldn't have been very good as we weren't very good. We have a tendency to create material that is too challenging for us to play well. It takes time and persistence.

Now there isn't a sense of urgency any longer. Which is Ironic. I have 30 less years of time ahead of me than I did 30 years ago when I played my first gig. Everything was urgent. Maybe cause I'm in no hurry to die? Or maybe cause I'm just enjoying the ride, getting better on my instruments, and enjoying the company of my friends and fellow bandmates and the honor it is to create with them. These things are more important to me now. The progress is the success.

My faith is stillness is unshakeable now. Sit still, show up and do the work. Simple formula. All the good things that have happened to us happened in ways that weren't expected. We didn't shop our record at all, we just got in front of the right folks to put it out. They have faith in us. That happened at the right time, we already had the recording in the can. We still struggle getting gigs outside of 2 spots that we love, and really, do we need more places? We've built a bit of community by playing at Troost 17 times now. When it's time for us to step it up, it will happen naturally in it's own way.

I think the old me was just ego.....always forcing it's will. That's the model in our society that we're given over and over again. The forceful egomaniac gets the success. Maybe that's true, and maybe it's true that it doesn't last and doesn't make anyone happy.

And what if you're a natural introvert like I am? I can't think of a more dishonest way of life than to try to fit in with the extrovert. There is no success in dishonesty. And most days I'm now happy. Glad to serve our music and audience. Grateful that the music we make is honest and not trying to 'make it'. Happy to let the music we make take us where we are needed to go. On it's own perfect time and it's own perfect way.

JB

A $1000 solution to a $5 problem. Change that neck cork!

This post is just to remind myself, who lives in a capitalist society and is addicted to buying stuff, to just chill out and find cheap solutions.

So lately I've been less than enamored with my beloved '36 Buescher Aristocrat tenor. It's been playing okay but sounding a bit harsh. It does need work and ultimately I will get it overhauled mainly to restore it's sloppy key action to be as tight as my minty low hours '35. When I bought the horn last year within a week the bell to body brace popped and one of the key guards fell off so I took it to KB Sax where he straightened it out. He told me the pads are good but challenging to work with, they aren't the best quality and if it's a keeper I should ultimately get it overhauled.

An art deco Buescher Aristocrat isn't worth all that much dough. And this one was de-snapped, there is no lacquer left, it's an ugly beauty. I can't think about getting 'my money back out of it' if I ever needed to sell it but....it's that good so I have no intention of selling it.

So anyway, I still had the neck cork on from when I purchased it. That was 18 months ago. And for the last 6 months I've been using that bad for the environment teflon tape. So last night I had myself a neck cork changing party. Did both of my Buescher tenors...

Didn't get a chance to play until tonight and I got the most satisfying 2 hour practice session I've had in a while in. Everything sounds better, plays better, I didn't want to stop but need to go to bed!

See, in my consumer mind the noise goes like this: You're not satisfied. Look on EBay, SOTW, Reverb at saxes. Maybe it's time for a Selmer Balanced Action? ($5k-$8k). Or maybe another vintage Otto Link like a Double Line one ($1k-$2k), or another neck (Chinese made $80 to USA or German or Dutch $1.2k) and on and on and on.

When your horn isn't tight it's harder to get inspired, harder to practice. Easy for me to fantasize. The last thing I wind up thinking is "maybe it's just a little leak up top, or maybe it's just the neck cork, or maybe I could spend the money on a lesson...."

I do know when it's my reed. It took me years to settle on the brand I use now, and that would trip me up. Buy a new horn when I really just needed to listen to that cat who years ago told me: "You're playing those blue box Vandoren reeds? You working to hard bro!"

I bought a stack of 10 neck corks on EBay for about $12 shipped. I followed instructions from Music Medic and also have watched the pros do it enough times to know, that is something I can handle myself. I bought 10 just in case I mess up. I did the first time, the second time I got it. And now like I said, I get to remember that I have a horn that I would envy if it were my brothers or sisters! Gone is the notion that I need anything else except more sleep, and more time on my horn. I got a good one! We'll keep making music together for years to come!

JB

Buffet Dynaction tenor saxophone. Why did Selmer come to dominate the French saxophone world?

I'm torn about selling this beauty.....

Why am I torn? It's easily the best sounding tenor I've owned. And it's terrifically in tune to boot. I also find the key work to be super easy.

You often hear the name Buffet being associated with 'classical' horns much like Buescher is. Well, I don't play classical but I guess I prefer 'classical' tenors. Buffet and Buescher are my personal favorites. I find them capable of doing anything. I never feel limited sonically like I do on other horns. I feel the same way about an old Selmer, flexible and capable of expressing you. Other brands I've felt like the horn had too much of it's ego stamp in the way. Kings, 10Ms, lovely horns but hard to get me into the horn and out to the room (for me, I'm open to others who experience differently!).

I just had this horn tuned up and KB Sax in Long Island City. When I went to pick it up I got to play it against a Selmer Balanced and Super Balanced Action tenor. I feel this held it's own with those and had a stronger low end which coming from American tenors, I like very much. I didn't find the key work difficult to switch on either of them with the Balanced being my personal favorite.

We talked about SML, Buffet and Selmer which were all made pretty close to one another, much like the 'big American 3' made in Elkhart Indiana.

How did Selmer come to dominate? They are all fabulous horns. I personally don't dig the feel of an SML though I have played some that had a great sound.

Sonically I found this horn to be rather close to the Selmers I tried that day. Dark center, nice bite though the Selmers won in the brightness department. They all projected similarly. When I tried some of Kim's necks my Buffet simply became a better horn than those 2. Even with the stock neck the intonation is superior though the tone leans towards quite dark.

Like I said I could get around on all of them with ease.

So, I think it may come down to something simple: weight. The Buffets and SML tenors I have played are stupid heavy! The Selmer felt like a toy (No Selmer fanatics, this is not an insult, it's a compliment! I'm a player. I need to have fun playing. I need it to be a balance between a tool and a toy dig????) I owned a Dolnet for a while too. Goddamn! That was a heavy beast! Powerful but I prefer the tone of the Buffet over all of the above.

 I may keep this tenor for studio work, it has a great tone color and I can sit down for that. Or maybe it's time to commit to a gym and lift more weights?! My Buescher and my Conn Transitional have good weight, about the same as the Selmer. I find new horns to be too heavy as well, except for Borgani maybe.

So I'm torn. It's for sale as of now but don't mind it sitting here either. This horn has a helluva sound and is easy to play. If you are looking for one keep that in mind. Yes they are a good Selmer competitor, no they are not a Selmer, they are a Buffet which is great in it's own right. But if you have neck or back issues, keep this in mind!

JB

The good and not so good of internet music forums

In 2007 I joined the online forum Sax on the Web. I left in 2010. I have nothing against internet forum communities but thought I'd share my experience here and hope that some reader finds it useful.

The internet is a peculiar new reality. I cannot tell if it is bringing more people together, or simply driving us apart. I joined SOTW to explore my fascination with my chosen instrument and to share my journey with some fellow players. Well, that's the positive reason for joining. I also need to admit here too that I was having serious struggles with the equipment obsession trying to solve problems by buying gear rather than practicing on what I have. I did spend most of my time on the equipment side of the forum.

Obsessing and chasing gear is a fabulous way to insure you won't grow.

I could not stop.... not without massive help.

Does this resonate?

So, most of my interactions were pleasant. A few members were kind enough to let them know they like me and enjoyed some of my contributions. I'm no "pro level" horn player, not in the schooled jazz sense, but I have a good ear for tone and work really hard to make good sounds be it sax or guitar. I learned a lot. It helped me clear up some things and make some enlightened choices.

But then I'd read about the latest heavy neck screw or whatever to make your sound better and there went another bit of cash.

I could not stop........

Then some things started getting weird. I suppose those who frequent forums often know it's nothing unusual, but the negativity stuff. The occasional person who maybe isn't well and just needs attention attacking you. Today I know my choices better. If someone goes low I can choose to go high. But back then I did my best and slowly started to sink. Someone operating at a low frequency seeks to bring you there. Two things can bring out the darkness inside: your own darkness or your own light. I could be captain positive sunshine and get pounced by someone for doing so. I didn't know it didn't need to bother me so I'd engage.

By the end of my stay I made a few questionable comments criticizing peoples choices myself. That's not me to do that. I didn't like this version of me.

Oh, and I couldn't stop.....

One day as I was satisfying my fix at my coffee shop in Echo Park, yes I considered myself addicted to this forum by this point and it was bad, I received a private message from a member who I had apparently offended. At this point I had just under 500 post. He tore into me. Tore into what he knew about me (which isn't anything, all internet social activity including this blog is my brand, not me, it's bullshit) and dealt some low blows. He used threatening language, the works. He left off with a peculiar warning that I waste too much time there judging from my near 500 post.

500 post....that is a lot of time spent there. The number was right there in front of me. What was I getting from that number? It was a bucket of water poured on my sleepy head.

I answered him with a thank you. I didn't know what I did to offend this person but thanked him for pointing out something I was refusing to see. I was an addict. 500 post. I couldn't stop. I was spending more time here than I was making music and becoming a better player and person. This needed to stop.

I said to myself "please shoot me if I reach 1000!"

I pointed out to him he was approaching the 1000 mark......

So I did the best thing I could. I made one final post announcing "this is my final post, thank you for the good times". I did this so I couldn't go back. My ego needed to do such a thing. I contacted an administrator and asked that I be removed since they don't let you just go. I explained my addict behavior and that I needed this. I kinda begged. She told me she was sad to see me go and found me to be an interesting and valuable member and that it would say on my profile that I was 'banned'. I said "go for it! Thank you!"

That stopped the bleeding. I keep more money now and have become a much better player by spending time taking care of my gifts and digging into my own dreams.



So what about my side of the street?

I needed to admit there was ego tripping on my part. I got high on being right a few times. That felt gross but in a satisfying way. Yuck.....

If I did it again I wouldn't use an avatar. I'd use my name. That creates, for me, a better energy.

People say things over the internet that they would never say in person. For the most part we are rather docile creatures prone to decent social behaviors. But behind miles of fiber optic cables and satellites all bets are off. Read any comments section on any online news or video channel and you can see it. It's unfortunate behavior. There is absolutely no physical accountability online. If I said some of the things some folks said to me, I'd expect to get my nose broken. I even said to my 'private message' guy "you know, I bet we'd actually have a decent conversation about any of this over a cup of coffee". I don't think ill of that person at all. In hindsight I think he was struggling with the same problem as I was: he could not stop. If we met in person we may have actually helped one another. But in this cyber world? Has anybody ever grown from a Facebook argument? The #1 emotion on the web is rage. I don't know why this is but it's easier to go from 1 to 10 on the rage-o-meter on the web for me than when I'm sitting in NYC traffic!

I do follow SOTW still. I learn a lot. I learn about players I've never heard about and I'm grateful. I'm stronger now, wiser, but wise enough to know how easily I could get sucked back into behavior that harms me, so I read and then pick up my horn and work on ideas. I'm grateful for the whole experience. I'm grateful to Dr. G, JL, others and especially KCP for helping me move on.

I think it's a good thing for some people, just not for this person. If it's good for you, enjoy it! If you think you have a problem and cannot stop, there is help available. Reach out and get it, then get on and improve your playing, life, relationships, joy, heart.......

-Jef