gary-
I can honestly say I have never seen a single advertisement for B&S horns in the States (I am on the opposite coast from Rob), but I do not subscribe to the major jazz- or music-oriented publications. Hopefully someone will chime in on that arena, as well as whether or not there was any presence at NAMM?
WWBW has been featuring the Allora and Chicago Jazz Series (LA Sax) on various full page advertisements, complete with endorsements. That is all I have seen of VMI here, advertising wise.
As Dave alluded to- I think the B&S problems were a lack of promotion and total lack of 'brand identity'. A good deal of marketing in the US goes towards creating a 'brand identity' - basically 'here is our brand, and this is what differs our products from those manufactured by others'. With VMI selling their sax under so many different names (Guardala, Chicago Jazz, Allora and B&S -that I know of) they prevented themselves from creating a unified identity. Even when checking the posts on SOTW, there is a mass of confusion as to which brand-models are based on what body tube, with what keywork, and metallurgy (gold-brass or not?).
IMO VMI shot themselves in the foot by offering 'boutique stencils' at the same time they were trying to break into the market with their own brand - B&S. In the past, some makers were able to transition from stencil makers to name brands, but I think that was most often successful when they made stencils for recognized name brands as opposed to 'boutique' names like Guardala, Chicago Jazz and Allora. To make matters worse, LA Sax and WWBW brands aren't (or weren't) that highly regarded when VMI initiated their association with them. AS far as stenciling for a larger name brand, I am thinking of the Keilwerth Bundys and Yanagisawa Vitos, I guess. As a gross generalization, the manufacturers could use that period to supplement income while perfecting their craft, and later began offering top-line products under their own names in the US.
Under that scenario, imagine if Conn-Selmer had decided to return the Conn horns to a professional level, and had them manufactured by VMI. VMI does so for a period of time, builds up capital, increases production capacity, invests in even more R&D, and then starts selling a top-line product under their own name. That may have been successful.
If you can't stencil for someone who already has marketing power, then the only other viable option would be to create a brand name. Tough to do in today's market. VMI already had a top line product (IMHO) and should have concentrated on marketing the horn under a single brand name (B&S - I think you are the only person on this forum who knows of a rumor of what it stands for -something unpronounceable to many Germans, let alone us ****y yanks :shock: ).
Price to value ratio is, indeed, excellent when compared to the 'Big 4', some better than others (Selmers vs. Yanagisawa). BUT -the prices were all over the place for the different brands. Why are/were the Chicago Jazz series and the Guardala so expensive as compared to the B&S and Alloras? Obviously the 'names' had to bump up the price to take a profit cut, too. There may have been other issues with the distribution chain in the States as well. I believe there was a 'sole importer' (JA Musik USA) - what were their marketing efforts? Do they have a vast distribution network in place in the States? What competing brands do they import? Are those other brands more profitable for them? Did they import directly from the factory, or did they have to buy from another distributor (were there too many links in the chain, each having to take a cut)? Randall can probably address that side of things better than I (if it is possible without stepping on any toes… :twisted: ).
The final, and maybe ultimate, distribution / marketing item that strikes me was the lack of horns at the local music shop. Who is going to buy one if he or she can't A/B it with other horns? It would have taken very deep pockets for a distributor to put a lot of horns out there, deeper pockets and lots of patience in waiting for them to sell. Had VMI sold the B&S horns through WWBW instead of the Alloras, anyone could've ordered them to A/B with a 'big 4' horns - which may have helped their reputation in the long run. For some reason, many just assumed the Alloras were an 'intermediate' sax (myself included) sold as a step up from the Woodwind brand horns offered by WWBW.
I am very glad that I saw Randall's positive posts on the B&S horns. I placed a good deal of value on his remarks because of the number of fine horns he has owned and played over the years. I was fortunate enough to pick up Dave Kessler's penultimate (next to last) 2001 Series tenor for a very reasonable price. I like the horn so much that I purchased a good as new Medusa alto from Kritavi through the marketplace on this forum (another great guy to deal with!). I am well past the honeymoon period on both of these horns, but am constantly amazed by their performance - particularly considering the prices I paid. I took the tenor to our SOTW Maryland area gathering this past February, and the horn stood up well in comparison to all the others there. The guys were pleasantly surprised at how well it played, and one chose to play it over any of the 10Ms or MkVI's available for the final jam session
.
When I took the alto to play in my 'Jazz Band Masters Class' (an ensemble formed and coached by my sax teacher, a UNT masters grad), everyone complimented me on the 'new sound' :thumbrig: . When asked what kind of horn it was, I got blank stares from all - including the 2 other saxophonists in the room and the trumpet player (who has GAS as bad as any saxophonist). Dropping the Allora / Chicago Jazz Series, VMI, and Guardala names only elicited the comment - "I've played Guardala mouthpieces, but I didn't know they made horns, too.'
Maybe B&S just needed more print coverage and an endorsement from someone like Joe Lovano, Branford Marsalis or Phil Woods (ok - or Candy* in keeping with your observations on American marketing! :wink: ). B&S never seemed to get their name out there.
I have rambled on enough for now, but I will finish by saying that I just wish I had enough dosh left to pick up a Medusa Bari before they're extinct! Anyone? Helen? - I may even trade straight up for my 1929 Conn Tranny...
-Jeff
* Why do I have to type so slow, and let Rob beat me to that pun(ch).
