Classical Sax Mouthpiece for Jazz 

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Thanks

I am **NOT** Sirvalorsax, and you didn't ask for my advice. But maybe I can give some insight. I personally use a Selmer Concept on Tenor, obviously for classical, but for Jazz too. Both Ballads, and Dixieland, New Orleans Style Jazz. I prefer the slower stuff, because it really lets the tone shine, but faster stuff is no issue. I have no issue in either projecting or cutting back, and it works great. I have a Metal Selmer Jazz piece, D opening, which has good tone, but is hard to play quietly. I also need to drop my reed strength considerably when I'm playing it. Probably a skill issue, but needless to say, it doesn't come out often. I will say that, from what I've read, the Concept is actually similar to a D or an E size opening (2.10 mm), but the expressiveness and tone are fantastic. I've used reeds from 2.0 Rico to 4.5 D'Addario Reserve, and they all work wonderfully (though, of course, the 4.5's are a bit of work.) My main reeds for BOTH Classical and Jazz are the Boston Sax Shop 3.5's or 4.0's. Great clarity, good articulation, and easy low notes. Win-win. Now, for the advice that actually pertains to you: I haven't played much C* on Tenor. I have a friend that absolutely kills it in *any* style on his C*. Insane classical tone, ripping jazz, he does it all. The C* is pretty versatile, I've found. I play it exclusively on Bari. If you're having trouble, remember that new reeds are always much, much cheaper than a new mouthpiece. I still recommend Boston Sax Shop. I hope this helps, and you find the sound you're searching for.

I have never felt like this was a hybrid jazz/classical mouthpiece and I have only ever approached playing it like it is a classical mouthpiece. I think you may be thinking of the Joe Henderson short shank Soloist that everyone associates with jazz because of him but it really is not a jazz mouthpiece at all. All of this can be done on a C* which I use to play in college for classical. I have many videos reviewing mouthpieces where my sound is much different than what's in this video. I hope that can clear things up. Thanks 😊

Great suggestion

Lol

Imagine that 5 saxophones in the section have a similar edge; playing together, 5 of you would sound horrible: the harmony is not sustainable, it breaks down. But when soloing, with only rhythm behind, the edge is admissable, and it does help enrich the sound of the soloist, give it a bit more expressiveness.

When I'm not playing lead part i use my classical setup

Sanborn plays at a steep angle because he loves playing high baffle mouthpieces. He is sending a very narrow but speedy airflow down the horn; high baffle mouthpiece is accelerating the flow, something like shallow rapids accelerate river flow. But if you raise the saxophone to play it more horizontally, you let more air in, airflow velocity drops, and the high baffle will choke up, blocking the sound or producing horrible squeaks.

@@zvonimirtosic6171 He plays out the side of his mouth with an extreme angle, because he had polio as a child and could not hold the sax properly.

@@grantkoeller8911 That handicap forced him to choose the setup that can exploit the handicap, and still make music. Similarly, I had a series of pneumonias that nearly destroyed my left lung, but playing woodwinds helped me exercise my other lung to compensate, and stay in better shape.

@@zvonimirtosic6171 So glad woodwinds helped your lungs!