[olds1959special]

I am enjoying my 1925 Buescher True Tone C-melody sax, I find it has good intonation and ergonomics. The G# key is a wee bit heavy but manageable. I am wanting to play a variety of modern styles with it. I am wondering if anyone else is doing this, and if there are any examples I can listen to. Here's a clip I found of Derrick Michaels playing a 1922 tenor that I like!

 

[turf3]

Check out Tony Campise, who played C melody a lot.

Arthur Blythe played his whole life on a 20s Buescher True Tone.

 

[paulwl]

You bet your bippy they are. The classical folk spread the word in the 80s and 90s that they weren't, but they really didn't know how versatile these instruments were because they weren't looking for versatility.

 

[turf3]

I'm listening right now to "Lenox Ave. Breakdown". Sounds pretty modern to me.

 

[JL]

Definitely. And you can play "old time" music on a modern horn also, if you want.

 

[Saxli]

Hello. It can seem strange but all the songs here have been recorded with a Buescher tenor new aristocrat (stencil):

https://soundcloud.com/
Very versatile instrument indeed.

 

[paulwl]

Not strange at all really. In the freest forms of sax music you will find old instruments used quite often. It is really only in "early modern" jazz, swing thru hard bop, that they are strangers.

 

[Reet McVouty]

There are no limitations on what music can be played on any instrument. The only limitations are within the individual that's playing it.

 

[Saxli]

Agree. Still I wonder if the New Aristocrat and the ones that followed are not slightly more versatile that the Truetones and the older ones?

 

[Pete Thomas]

I think the versatility people talk about mostly comes from the player and mouthpiece, but that kind of reveals the elephant in the room. At least for me the issue with the Truetone has always been mouthpiece matching.

And if you particular definition of a sound for modern music involves certain types of mouthpiece, you will be fine but possibly out of luck in regard to getting the best intonation.

But I would say that if you do totally have to rely on a certain mouthpiece for a certain sound, it could be that it's the lack of versatility due to your embouchure that is restricting you rather than the mouthpiece per se.

In other words some people may be able to get more versatility with a mouthpiece that's a better match (intonationally) for a True Tone, while others might struggle, and so think they need a more "modern" mouthpiece for that sound they are after. And then find they suffer some consequences in pitch.

 

[rsclosson]

My True Tone is amazing! I wish it had a front F, but I have a work around for that. The original Buescher mouthpiece doesn't get much use, but the other ones work nicely. If my Covid-19 impaired budget forces me to sell my Cannonball, I will take comfort in the fact that I have a pretty viable alto to play.

 

[paulwl]

Agree. Still I wonder if the New Aristocrat and the ones that followed are not slightly more versatile that the Truetones and the older ones?

Certainly in terms of ergonomics and mouthpiece friendliness. But you yourself would need to be vintage-friendly to appreciate the differences.

 

[olds1959special]

Listening to Arthur Blythe recordings kind of answers my question. Even though he played an alto as opposed to a larger horn with heavier keywork, he sounds great on his TT and very contemporary too.

 

[Teddy]

I have rebuilt a gold plate C, silver plate C, '25 Tenor and a spotless '25 Bari(both silver) They play very well and the tone is gorgeous! Ergonomically not modern but you adjust.