Top 5 new tenors today...what would you pick?

[Jazz_Star]

What are the top 5 new tenors (in order) today (include specific models) and why?

Also, would you take your top from this list over a Mark IV?

Thanks!


By the way, if you’re interested here’s my story, and thus why I ask for your thoughts:

Haven’t played much for about 6 years, but I’m looking into getting an incredible tenor that will let my best playing come alive again. I don’t play gigs anymore, because I’m a professional accountant/auditor and daddy and thus don’t have a lot of time for it.

In my past (through my 1st year of college) I played pretty well (e.g., Washington All-State Jazz Ensemble on bari sax, won Eastern Washington’s classical solo & ensemble for bari/tenor division, multiple Outstanding Soloist awards at various jazz festivals). I’ve digressed quite a bit, but can still play well.

I used to play an Antigua Winds b/c I couldn’t afford to get the horn I really wanted. I eventually had to sell it b/c I needed the cash for a greater purpose. A couple years ago my dad bought me a Selmer Signet (with S brace) in a pawn shop for a couple hundred bucks because he wanted me to play again. It’s fun to play and I played some jazz combos in college with it, but it's not a really “great” horn. It needs work, but an overhaul would cost more than the sax.

I basically want to get the ultimate tenor, preferable a new one, to play for wife/kid/family and possibly an occasional fun gig. Plus, I can afford a nice horn now, and I just want to get something awesome since I never could as a kid in school. However, I always knew the Mark VI was special but never got to play one -- still wonder if I should just find a great VI and call it quits -- but, maybe some new horns are the VIs of tomorrow (??).

I haven’t seen what’s out there for a few years, so I’m wondering where to start in my play testing. Save me some time and recommend some sweet horns that would satisfy even an incredible player’s needs!

Thanks!

[Razzy]

Scroll down about 8 posts on this very forum and you'll find a VERY relevant topic.

Also, my list almost doesn't matter. I wouldn't choose any of them over a good VI.

[Hurling Frootmig]

I'll make a go of it.

Of the new stuff I think it depends on what kind of music you are going to be playing and what kind of tone you like out of a horn.

I played a very nice 82Z this weekend. It's the first 82Z tenor I have played that really had something special. It felt great in my hands and really sang though the whole register. Felt more like a VI than the Reference series.

Reference 36/54 - Generally I prefer the 36 because it has a little more spread to the tone and the low end is a bit bigger sounding. I've played a couple of 54's that I thought were easily has good as a good VI. If I had to replace my VI with something besides another VI I would probably opt for the Reference 36.

Keilwerth SX-90R - Nice horns but the older ones seemed better in terms of tone. I don't care for the large hand spacing but it's easy enough to get used to. I find that the RH3 and low C touch are too close. I'm not a fan of the tone rings. The tone is killer with a lot of nice spread.

Yanagisawa T992 - Smoother than a 991 with the best feel of any horn made today. Nice tone but can sometimes seem steril depending on the example. Lots of aftermarket necks to choose from so it's easy to find the tone you like.

Selmer Serie III - The best feeling in the hands of any of the modern Selmer horns. The neck angle is more VI like and the key spacing is slightly better than the Serie II and Super Action 80 horns. Essentially, Selmer bottomed out with the key feel of the VII and have been slowly getting it right since then. For some reason they refuse to go back to the wonderful spacing of the VI. Arrogance or stupidty . . . I can't decide. I find the III's to be too bright and boring in terms of tone. The Serie II's are much better in terms of tone to my ears but the ergo's are worse. That's probably why I generally prefer the Ref's to these horns.

B&S - If you can find one the tenor enjoys a great reputation. Great horns for the price. You have to buy them on closeout from wwbw under the Chicago Jazz series or the Dave Gaurdala series. They might still have some of the old stock Allora's.

Borgani - Think big bore Conn. They're pretty good but I don't like how they feel in the hands so much.

Rampone & Cazzanni - Good luck finding a R1 or a R1 Jazz at your local music store. Think Mark VI key spacing and feel with vintage american horn sound.

The Signet that you have is a pretty good horn and while it might not be worth it to put in the price of an expensive overhaul if you are planning on selling it - it would be worth it from a playing perspective. It is on par quality wise with the Buescher Aristocrat 156. Solid intonation and great tone. A number of guys and gals on this forum prefer them to some other well known Selmer horns that go for crazy prices . . . o.k. the Mark VI.

[awholley]

I recently got an SX-90 tenor (no "R") and I love it. I have played Yamaha 875, Selmer Series II and Selmer Series III horns recently. I'd rank them this way, in terms of playability and sound.

SX-90
YTS-875
Series III
Series II

The Series III didn't seem to have much "character" for a Selmer, and the Series II didn't play as well in tune. The Yamaha wasn't exactly full of character either, but it had better response than either of the Selmers. I am very impressed with all aspects of the SX-90 -more so than I anticipated, and the appreciation seems to grow the more I use it.

There are, of course, as many opinions as there are members, so take all our input and then go try for yourself the ones that pique your interest...

Alan

[58tenor]

All good info above. With your level of accomplishment you will shine on any decent horn. You just gotta play test 'em and go with your gut. There's a number of great saxes now. Personally, the B&S horns are my favorite but they might be getting hard to find.

If you really like the Signet and had to spend, say,$600 for a topnotch overhaul it's worth considering. A new horn will cost much more and lose resale value. Nothing wrong with the non-Paris selmers.

[J.Max]

I love my Keilwerth SX-90R, but it's an older one. I've stubbornly kept it for a long time (15 years!) and I wouldn't sell it for anything. I've tried Mark VIs, YTS-62s, YTS-875s, Serie II, Serie III, Mark VII, Yanis...but I always come back to my "Julie".

[Razzy]

Nothing wrong with that JMax. I know some guys who get wonderful sounds out of Keilwerths. I've tried the newer ones, thought they were cool but not for me, maybe. Never played an older one... maybe I'd like it??

[JfW]

Okay, here goes.

1) First on the list is the Selmer Ref 36. I was 'auditioning' horns at a local store (to us a term loosely, I had no intention [read: capacity] to actually purchase) and fell in love with the response in the entire range, the feel, the look, and especially the sultry voice it had. My wife agreed and added that it sounded like what her concept of "saxophone" was.

2) Selmer SA-80 Series II. Not as gutsy, lush, and dark as the 36, but very smooth and even. I'm mostly a concert/classical player and thought this was perhaps the most appropriate for what I like as well as the most flexible instrument overall.

3) Yamaha 82Z. The keywork was perhaps fit for a little larger hands, yet I still had no real trouble with this. This was the most resonant tenor I've played. Things just jumped out of the end of the thing. The sound was bright, but full. Response was excellent.

4) Selmer SA-80 Series III. Lotsa Selmers here. Ergonomics are very comfortable (like all the Selmers) for my hands. More brilliant and bright sound than the Series II, very colourfull tone.

5) Jupiter SG-889? Artist. Stunning looks, good keywork from a tenor costing less than half of any of the others. tone was medium and not as well rounded/full as the others, but definitely professional grade.

There you have it, and no, I'd rather have the 36 I tried than the Mk VI. It played the pants off the late VI I played that day.

[Mactenor]

Reference 36....without a doubt.
Best Regards Mactenor

[AlistairD]

Another vote for the Reference 36....

Followed by a Borgani Jubilee, a Buffet S1 and then the Ref 54....ooops and the 5th.... a T992

[Al Stevens]

I have a circa '56 VI, which I got about a year and a half ago and a Ref 54 LE, which I've had about a month. For a month I preferred the 54. This week I got a Phil Barone neck and put it on the VI. Now, the VI nudges out the 54 for the horn I'd rather play. (The 54 is prettier, though. The neck doesn't fit it, so I can't answer that question.)

Previous to these horns I had a Vito and a Yamaha 82Z unlacquered. The Vito was, well, a Vito, nice student horn, and the 82Z could not be played in tune in the upper register. At least not by me, my teacher and a local pro player with our mpcs of choice. Don't buy anything sight unseen.

[shmuelyosef]

JK SX90 (with or w/o RTH)
Yani T99x (I am partial to the bronze T992)
Selmer Ref 36

I don't think that I would buy any other new horns than these...and yes, I did choose the JK over a VI.

jeff

[Dr G]

Ref 36 - I've played these head to head against an entire collection of early Mk VI's, SBAs, and SAs and barring a '59 Mk VI (worth easily 10k) and one of the SBAs, the Ref 36 was far above the rest of the pack. So, for a modern day horn, the Ref 36 is tops in my book.

I've owned and sold a Serie III and a Borg' Jubilee silver pearl. Those would be next down on my list as they were both very good - just not as good (for me) as the Ref 36.

[Pannonia]

However, I always knew the Mark VI was special but never got to play one -- still wonder if I should just find a great VI and call it quits -- but, maybe some new horns are the VIs of tomorrow (??).


Well, if you have never played one how do you know you will like it? There are as many dissapointing Mark VI saxes as good ones. Buying just any Mark VI is no guarantee that you will have a good instrument you will like.
New pro instruments are more consistent than old ones. Before paying a lot of money for a very pricey vintage horn try the pro saxes from the Big Four.
Try to form your own opinion. Find the sax that YOU like. It does not have to be the best saxophone according to world concensus if that exists at all. It just needs to be the best for you. Expect the journey to take some time.

[Dr G]

Expect the journey to take some time.

Yes, expect it to take extra time (and/or money) if you want to find that great Mk VI. You can either buy and sell a lot of 'em until you settle on one, or you can take a trip to visit one of several shops that specialize it them. I guess if I sold all my horns, I could afford one like the great one that I played - or settle for one in lesser condition.

Good luck with your quest.

[john]

My current "stable" of tenors is: T991, Mark 7, SDA, Couf Superba 1, SX90, and a straight SX90R. I like all of them for different reasons. I have noticed that after just a little while I sound like "me" on all of them.

I'm usually a bari player but when I play tenor I play the T991. If sounds good. It has great intonation. It feels good in my hands.

You might be different from me. Play everything then buy what you like best.


Just my $0.02.

john

[hgiles]

I sold my 1959 Mark VI tenor and bought two B&S (CJS) horns in alto and tenor. Both are better than the VI ever was.

If my horns were stolen today, with the insurance money I'd go find B&S again. They are very mouthpiece friendly and very solidly built.

I tried a Yanagisawa that wasn't a great example (9937) -- way mouthpiece sensitive and played out of tune in the upper register. The altissimo register was a bear to get out. It was a beautiful horn and a lot of people like them.

[Dr G]

and a straight SX90R. I like all of them for different reasons.

I'm still looking for sufficient justification to support my jones for that most manly soprano of all. For what situations do you use your straight SX90R?

[Swingtone]

IMHO even if you can afford it, it doesn't make a lot of sense to spend 5 Grand on a VI if you're not going to be making money from it. There are some GREAT horns that can be had for less than 2 Grand if you just want to play for a hobby. I recommend a Buffet Super Dynaction from the early to mid 60's or even better--a Buffet S1, which can be had for around 2 Grand if you keep your eyes open. Or how about a Conn 10M? I'm sure you can find a nice one on ebay for around $2,000 without too much looking. I think 10MFan (ebay handle), who I believe is also a member of this forum, may have a couple up for auction as we speak. Aside from the Mark VI, there are those that say the 10M is the ultimate vintage sax. If you look at vintage album covers, this is pretty much borne out by the photos--if the pros weren't playing Selmer's, it was usually a Conn (or occasionally a King Super 20).

I think that WW&BW are sold out of tenors right now, but there's also the B&S Chicago Jazz Series, which has gotten rave reviews on here and which is basically a pretty decent VI copy (do a search on Chicago Jazz for a TON of recent material on these on this Forum). I know someone who may be able to help you with one of these if you can't find one someplace else. He's a music professor at a local university who's been buying these up over the past year or so, having them set up by a local tech (also my tech btw), and reselling them on ebay for a nice profit.

[shmuelyosef]

Play everything then buy what you like best.
john
Didn't you mean to say "buy everything and then play what you like best"?

[heath]

I tend to think that since you don't have much time for the horn then it would be a waste as well to look into spending 5K for a new horn.

American vintage horns like the 10M are great, but modern horns have much better ergos.

If you've got the money to blow then by all means check out the Ref 36 or 54, their probably two of the finest horns made today. I have a ref 36.

Don't buy a VI simply because there becoming scarce and I feel they should be used and owned by pro musicians and not collectors or hobbyists.

I'm not a fan of the asian horns like the 82z or yani horns. They do have excellent intonation and the ergonomics are perfect, but the tone isn't near as fat as that of a selmer or keilwerth.

[john]

I have absolutely NO justification for the straight tenor. I got a killer deal on it from Stephan Boesken before the dollar tanked relative to the euro. It's a great horn. I'd probably play it more except I'm not tall enough to play it sitting in a regular chair, only standing or on a tall stool. If had it for several years and probably have no more that 2-3 hours of play on it. Great fun. Not very practical.


Didn't you mean to say "buy everything and then play what you like best"?
shmuelyosef, I love that. When my GAS was in full swing I had 15-16 tenors. :shock: That doesn't even count the TH&C, the 10M, 16M, Big B, and True Tone- those were all "pass through" horns. Ken Beason lived here in town so I could get vintage instruments restored reliably. Over the last few years I've "thinned the herd" so it's down to relatively modern horns that I really like to play. What I've got left are, IMHO, great horns that sound good to me- especially since I usually play bari!

Play everything then buy what you like or buy everything then play what you like. Either works for me- obviously. Just don't tell my wife how many horns are actually here! :wink:

john

[Gandalfe]

I've not found anything that would spur me to replace my Couf Superba I tenor. But I wouldn't mind having a nice back up tenor like a Ref 54 or a Keilwerth Shadow.

[thehighend]

What are the top 5 new tenors (in order) today (include specific models) and why?
Also, would you take your top from this list over a Mark IV?


OK, this is a tough question... limiting myself to one model from any given vendor, here's the list based on my experiences:
1) Yanagisawa T-992. Incredible ergonomics, intonation, and first-rate tone, build quality, and setup as well.
2) Selmer Reference 36. The nicest Selmer model I've played since playing my first Selmer back in the 70's. Superb tone, and the Selmer legacy. Also supposedly a "limited edition" horn, although perhaps not so limited.
3) B&S tenor (in any current incarnation: Guardala, CJS, Courtois, Medusa, etc.). Fat, lush tone, solid German construction, with surprisingly solid and comfortable keywork.
4) Keilwerth SX-90. Reminds me of the B&S, but with a slightly more resonant but less dark tone. Perhaps slightly less refined ergonomics, but still superbly built.
5) Yahaha Custom 875. Top of the line Yamaha, refined mechanism, smooth tone, even scale... if you find something to complain about with this model, you might be having a bad day.

If cost is no object, the Yanagisawa, Selmer, and Keilwerth horns have actually been produced in very limited edition solid-silver incarnations. I personally believe that the real value inherent in such ltd. ed. versions is not so much as the switch from brass/bronze to silver, but rather the attention to detail (e.g., setup perfection) that the companies tend to lavish on their ltd. ed. pieces.

[thehighend]

Oops, forgot your MkVI question. Would I take the top of my list above a VI? Yep, although perhaps I've never played one of those legendary killer VI's that people rave about.

Btw, I always find myself second-guessing myself regarding these rankings. For example, someone could rearrange all of #1 through #5 on my list and I really couldn't argue with them. They are all so good! If I had to bring one horn to the proverbial desert isle, I would grab a Yanagisawa, though, but that's just me!

[tomsch]

Gandalfe - I feel the same about my Couf and I do have a Keilwerth SX90R NS as my backup! Great horns.

[RCNELSON]

I have wanted to try another tenor, but I bought my 72xxx series Mark VI in 1979 from a guy who decided to give up playing in the local bars. I will never part with it. The key action is terrific and mixed with my metal Berg and LaVoz medium hard reeds, the sound is pretty good. Would be better if I practiced/played more.

[Swingtone]

After rethinking this, a Mark VI is probably the way to go. It's the one you've dreamt about all these years, apparently, and at the end of the day, you want the horn that's going to inspire you to pick it up and practice it.

But here's the main reason you should get it--it will almost certainly appreciate in value. Let's say you've narrowed it down to an early 60's VI, priced at 5 Grand, and a new Reference 54 or 36, both priced around 4 Grand each. Even though the Vi will cost you an extra grand, it may be worth 7 or 8 or 9 Grand ten years from now; however--and I know some will part company with me on this--you'll be lucky if the Reference horns even hold their value. In fact, it's possible that they might even fall a little.

So in 7 years, when you decide to sell because you've gotten the sax bug out of your system and you want to set some more aside for junior's college fund, you might be able to get 8 Grand for the VI and maybe only 4 Grand (or less) for the Reference horn--which means you actually lost money on the latter if you factor in inflation. It's just something else to think about. Even though there are still plenty of VI's to go around, they sure ain't makin' em anymore--something that can't be said of the current production horns, of course.

Don't worry about getting the vaunted "5-digit" horns, as those are way overpriced IMHO. There are some who say those from the early 60s are the best anyway. And I think Wayne Shorter's and even Dexter Gordon's VI's dated from around the mid 60s, so they must have been making some decent ones up until 1965 or so.

You might check out saxquest.com, which always seems to have plenty of Vi's in stock. There's also Randy Jones at tenormadness, but personally I think he's kind of high. Also Sarge at worldwidesax.com usually has a VI or two in stock. But the best option of all may be to just head to the nearest metro area and test play a lot of them. The advantage of working with the guys mentioned above is that they are sax experts and would be able to pick a good one for you.

[heath]

Who knows what horns are going to hold their vaule. The only VI's that truly hold their vaule are often closet horns, as I've owned and currently own a very well played VI and I can tell you they do wear out eventually if their being played.

As far as I'm concerned if you're going the investment route I'd pick up a SBA if you've got endless amounts of cash laying around.

And Wayne shorter has owned so many horns it's impossible to nail him down to just one. Even today his equipment seems to change all the time.

Ref horns are inching up close to 5K and I think you're right they won't hold their vaule near as well as the older selmers, I think this is especially true for the 54's which have glutted the market....even thought they are very well made horn and probably superior to the VI in most ways.

[Swingtone]

I think many of the VI's still around today are going to hold up just fine--their owners who mortgaged the farm to buy them will make darn sure of it. :D

BTW here's a cool one on saxquest (turns out they have all their horns worked on by Tenormadness so I would check both sites):

http://www.saxquest.com/productDetails.asp?productcode=77302MarkVITenor

There's another one a little farther down the page for $4,500 that also looks pretty cool if you like that worn look (ever see photos of Rollins' VI?)

Yes, I do think it's hard to pin down Wayne's exact horns over his long career--except for a key couple of years in the mid-60's starting around the time he joined Miles's band. I still plan on reading his bio from a couple years back, but I have read articles and seen photos indicating that he must have hit a rough patch financially in the year or so before joining Miles because right when he joined his group he was playing a post-Selmer-buyout Bundy-type Buescher. (I've seen numerous photos from a 1964 European tour with Davis that clearly shows him playing this horn. There is also a famous article that I believe was posted at one time on this Forum in which he jokes about this horn, and that Miles gave him s*** about it and the fact that one of the parts had to be held on with tape or some such.

But then in the same book there are shots of Wayne playing with Miles in 1965 in which he is playing what looks to be a brand new shiny VI. So either he had his VI in storage in '64 (doubtful) and opted to play this crappy PBO Buescher (oddly enough right at the time he would have just joined the band and been trying to impress its storied leader) or he bought one sometime around 1965. Whether it was a brand new one or already a few years old (a 5-digit perhaps?)--who can say? But I'm guessing it was probably new and from the mid 60s.

[Randall]

1. B&S Medusa or 2001 or stencils
2. Buescher TH&C
3. Ref 54
4. Keilwerth SX90R in any flavor
5. Cannonball Stone Series

[bobsax]

Keilwerth SK90 R

[heath]

I just got done reading waynes bio and it doesn't really discuss horns too much. It did mention that miles bought him a new horn when his was stolen, I think it was a loan that he paid back to miles.

Actually I've seen pictures of him playing a martin as well. After the Miles gigs his income seemed to skyrocket so from what I've read about him he has quite a collection of older selmers. I know he has a number of SBA's as well.

I still stand by my original testement that a VI will wear out eventually. The rods on mine are coming apart and numerous keys have had to be resoldered and that's just in the few years I've owned it.

[Swingtone]

I just got done reading waynes bio and it doesn't really discuss horns too much. It did mention that miles bought him a new horn when his was stolen, I think it was a loan that he paid back to miles.

I betcha that was the VI I'm referring to, considering that Miles gave him such a hard time about the Bundy Buescher he had to play (no doubt after his original VI was stolen). (I know he had a VI prior to the Buescher because he's clearly pictured with one on the "Veejay" LP "Introducing Wayne Shorter.")

I believe the Martin was his original sax that he played up until the late 50's. There's a great interview which is also posted on here somewhere in which he talks about the first time he shared the bandstand with pros like Rollins, and how they played Cherokee and that some guy taped it but that he never got a copy of it from the guy--one of his biggest regrets.

[Swingtone]

sorry--double-post

[Swingtone]

Jazz Star,

Please be sure to share with us which horn you went with. We all did too much work here not to know! ;)

[Jazzy saxxer 4]

Yamaha Custom Z hands down. It plays better than any tenor I've ever played. This horn is great, and it would be pointless for me to list 4 more because the Z is that good. It's got a great tone, can play well at a piano, but it still can scream. Not to mention that its intonation is as good as it gets. The price isn't too bad either, especially if you buy a used one or a B-stock horn.

[Bootman]

Martin Magna
Buescher Aristocrat
Conn 10M or Tranny
Selmer mk vi (mid 60's)
Keilwerth SX90R

The Yanis and Yamahas do play well but seem to lack something special in the middle of the tone. I have also been impressed by some of the newer Chinese and Taiwanese horns. These are worth investigating as they are getting up there. The newer ref series Selmers are good but there is an element of trying to get back to the glory days of the mk vi.

Overall, which tenor is best is purely subjective and dependant upon what style of music is being played by a given player. My favourites at the moment would have to be The Martin and Magna tenors, they seem to have the best of vintage and modern sound wise, great keywork and handle the rigours of playing in various styles effortlessly. The sound is very maleable for Jazz, Rock or Blues work and they also play very well in classical situations too.

[Al Stevens]

Yamaha Custom Z hands down.

I couldn't disagree more. The one I had (YTS 82Z unlacquered) couldn't be played in tune with a Link 7* mpc. Not just by me. By other players, too. I tried it on an identical horn and had the same problem. It was okay with a Selmer C* but not with anything wider. It had the newer neck that was supposed to correct that problem. Oddly, it played okay with the neck of a student model Yamaha. But the tone was too thin. I sold it and wouldn't have another one.

Happily blowing a Mark VI and a Ref 54.

[SaxyAcoustician]

1. B&S
2. Yamaha 62II
3. Keilwerth SX90R
4. Yamaha 82Z
5. ?

[thehighend]

I think the 40 responses so far pretty much show that there are a bunch of terrific models and individual horns out there, with no consensus... I think I have seen similar threads before. ;) Again, it just goes to show that each person needs to find their personal favorite. Or, maybe these responses mean that not enough folks have played a really good Yanagisawa? :shock:

[Tim Price]

SELMER SERIE3 / SILVER w/ noyaks

SELMER BRUSHED BRASS SERIES 3 / WITH BRASS NOYAKS

fOR THE OTHERS...

I'd say any Refrence with a set of noyaks & custom pads.

And- if I ever had the $$ I'd get Borgani to do a custom 130 tenor like the alto.

I'd love to also find a tea kettle neck SELMER like Charlie Ventura used.

The list could keep going....haha. Maybe a BlasHouse tenor like James got.
So much good stuff...:D

[Roger Aldridge]

Great info on this thread!

Personally, I'm so much into vintage Bueschers that whenever I try a modern horn it doesn't do anything for me. I haven't found a modern horn yet that has comparable tonal qualities.

[Saxplayer1]

Selmer Series III Brushed w/Series III Gold Brass (Copper) Neck
Selmer Reference 54 w/Series III Sterling Neck
Yamaha 875 Custom
Yani 991
Keilwerth SX90R Brushed Nickle

[Blue Highway]

There are a lot of great new saxes out there. a quality Yamaha or old selma can be quite a thrilling experience like driving a $80k Honda or a Renou but really if it's all about you an what you'd like to express. Buy one that sounds like you, if it's just to play the sax because you want to, then buy a student qualiity yamaha it will last long enough for you.

[motomom]

Jupiter 800 series, beautiful in silver plate w/lacquered keys, and a sterling neck. Great tuning, and you can go from a warm concert sound to a great jazz sound. For the bucks it is just the best buy around.

After that, everything is overpriced.

[jabcool52]

I couldn't disagree more. The one I had (YTS 82Z unlacquered) couldn't be played in tune with a Link 7* mpc. Not just by me. By other players, too. I tried it on an identical horn and had the same problem. It was okay with a Selmer C* but not with anything wider. It had the newer neck that was supposed to correct that problem. Oddly, it played okay with the neck of a student model Yamaha. But the tone was too thin. I sold it and wouldn't have another one.

Happily blowing a Mark VI and a Ref 54.

When I was trying out tenors, I really liked the tone of the 82Z. Most of the ones I tried, however, played out of tune. I'm pretty sure the problem was with the neck because I tried them with different necks and the intonation improved greatly. I ended up with a Limited Edition 82Z with the lacquer shotblast finish because it sounded just like the other 82Z horns but was much more in tune. Except for the high C, the intonation is impeccable and the tone is wonderful. Nevertheless, it seems like Yamaha needs to improve their necks before the 82Z will be the best horn.

[rleitch]

Hey Jazz Star (nice name!)

I play a King Cleveland, so my opinion is pretty much crap:) ; however this is perhaps interesting: one of the best/busiest/most popular tenor players in my area has recently switched from Selmer Reference to Yamaha Custom. His rationale is that the Yamaha is more versatile: "I feel like I can do more things with it" is how he put it to me.

R