All of my alto and tenor mouthpieces are offered in both the finest German bar stock hard rubber and Orange Ultem.
CATEGORY 1 Warm and full-bodied model with sweetness: “ALTO MADNESS”
This piece is fantastic, and I wanted to bring back some “old school” here with some REAL character built into it! Its got a nice deep chamber with slightly scooped sidewalls and a rollover baffle. All of you vintage Meyer and Link lovers will really dig this. Its got a full-bodied, warmer sound with lots of CHARACTER and a nice old school resistance to push against. Its all about the beauty of the sound. This is the warmest and sweetest of my alto pieces, but you can push it too! It gets that early Art Pepper/Desmond/Hodges vibe to me. I can lay back on it for some Art Pepper, Paul Desmond, Sonny Stitt, Lou Donaldson, Johnny Hodges, etc… or push it for a more modern direction.
Category 2 All-around model: DADDY-O
I consider this an incredible all-around focused sounding, straight ahead, classic alto piece. This alto piece is just SO much fun to play.
“Daddy-O” alto mouthpiece: Highly versatile and flexible alto mouthpiece that produces sounds that range from sweet, warm, and colorful to modern with some nice brightness, great clarity, and punch. That’s why this is my all-around mouthpiece model. All the power necessary to lead a modern big band section through modern playing situations. Very versatile and classic sounding. This is not a “dark” mouthpiece by any means, as dark or stuffy is not what an alto mouthpiece should sound like to me. It should sing and ring, whether it’s warm or brighter! You can get all the classic alto vibes from this piece, but this has more power, clarity, brights, and freedom in the blow. If you need even more aggressive, just go with the Showboat model. Its that simple a choice. Bird, Stitt, Hodges, Desmond, Art Pepper, Lou Donaldson, Phil Woods, Cannonball, Charles McPherson, and Dick Oats vibes are certainly all available with this Daddy-O, to name a few. As always, it depends on what the player brings.
An amazing alto mouthpiece with a harmonic richness not found in more traditional designs. You can play as quiet as you want and as loud as you want and I designed it so it would not be as bright or punchy as the Showboat model can get, but still have lots of volume, killer altissimo, and more power available than most straight ahead alto players have experienced from the vintage models. For me, it’s so much more fun and satisfying to play than any vintage Meyer Bros and all the Category 1 vintage mouthpieces. This includes Brilhart, Selmer, Meyer, Otto Link, etc…), while keeping the tradition and classic alto sound associated with those pieces available. This piece can sing over a big band section or whisper as soft as you can.
This alto piece is for the player that digs a classic sound, but this has more freedom and clarity in it. It has straight side walls, and a very long and lower baffle compared to the Showboat model. There isn’t an alto mouthpiece that plays like this. I am very proud of my designs.
Category 3 Powerhouse player model: Showboat mouthpiece.
Great powerhouse mouthpiece that combines classic Phil Woods with a modern power and punch. More cut, power, and brilliance, to the sound than the Daddy-O model. It takes it to the next level, for the guys that want that.
“The Showboat” mouthpiece: Think 60’s, 70’s, and 80’s Phil Woods here with more brights and pop available. Great for jazz and well-suited for contemporary playing!
Such a fantastic lead alto mouthpiece sound! More punch and highs available in the Showboat model than in the Daddy-O model. The Showboat has a longer facing curve than the Daddy-O model so it’s freer blowing for the player who wants that brilliance up high when pushed. This has a medium height+, med-long baffle and straight side walls. It’s a shorter and higher baffle compared to the Daddy-O model. Its got all the volume anyone would ever need, but can also be played to a whisper. The sound is thick and full throughout. Think Phil Woods here with more brights and punch! Much more aggressive than the Daddy-O model, by design.
ALTO REEDS: All of my alto saxophone mouthpieces are incredibly efficient. They have punch and power built into them. Many of you currently use brighter reeds on your alto mouthpieces, because you need more punch, pop, and brightness. I find a lot of the designs out there to be too warm and dull for me, so I understand why you use those reeds. Because of that, I have built all of that into my designs, so you don’t need to do that anymore. I urge players to try different brands of reeds to get the color and response they want with my mouthpieces. Just because a certain warm reed brand was too warm on your last mouthpiece, doesn’t mean it will be with mine.
Please do not make the mistake of trying my alto mouthpieces with the reed brand that you currently use and assuming that it’s going to be the perfect match just because it works well with the mouthpiece you are using now. It may be a great match, but only you can make that call after you’ve tried everything out. Always treat each mouthpiece individually, and find the proper reed to give you what you are looking for with each mouthpiece. I am confident most people will like a warmer reed with my alto mouthpieces because of my designs.
A few reed selections for alto, based on my own personal experiences below.
Blue box Vandoren/D’addario Reserve sound the warmest to me
Rico Royal sound warm to me
Hemke sound warm for me but are freer blowing than the Rico Royals
Java Red are warm and full for me
LaVoz adds buzz to the sound for me
Select Jazz is medium and play great for me
Rigottis and ZZ reeds are bright for me
Java Green have a lot of pop and are bright for me