Joined
·
2 Posts
Whats a very good mouthpiece that is good for jazz.adn you could get for around 30$.i'm cheap but it can be close to it.
Cheap mouthpiece that is good for jazz
1 - 20 of 22 Posts
Joined
·
1,696 Posts
"Good for jazz" is a bit broad. If you are looking for a particular jazz sound - Hawkins? Getz? Brecker? Coltrane? Gordon? Bird? then you might choose a mouthpiece that suits. You also don't mention whether you play alto, tenor, baritone or soprano.
Anyway, a jazz sound is pretty much in your head. I can make a pretty jazzy sound on the stock mouthpiece that comes with any reputable sax. But my personal choice is a Claude Lakey which is a bit beyond your budget. You might pick up an Otto Link on eBay.
Anyway, a jazz sound is pretty much in your head. I can make a pretty jazzy sound on the stock mouthpiece that comes with any reputable sax. But my personal choice is a Claude Lakey which is a bit beyond your budget. You might pick up an Otto Link on eBay.
Joined
·
1,696 Posts
Doh!
jazz, rock, funk, fusion and gospel on tenor, alto and soprano
Joined
·
504 Posts
I agree with Raphyel. A Meyer 7M is the only inexpensive mouthpiece I will use for jazz gigs. Although I prefer the more expensive Beechler and Jody Jazz mouthpieces, I've had many successful gigs on the Meyer.
Joined
·
13,403 Posts
Rico Graftonite A7, about 12 bucks.
If they reissued the Metalite for alto, I'd suggest that. You have to find vintage.
There's a Metalite alto M11 (wide open at .110") on ebay now for a BIN price of $19.95. If I had an alto, I'd snap that sucker up.
If they reissued the Metalite for alto, I'd suggest that. You have to find vintage.
There's a Metalite alto M11 (wide open at .110") on ebay now for a BIN price of $19.95. If I had an alto, I'd snap that sucker up.
Joined
·
21,538 Posts
Rico Graftonite, Brilhart Ebolin are the only new under $30 one I can think of. I doubt you will find a Meyer or similar at $30 in decent shape.
Joined
·
830 Posts
http://1stopclarinet.stores.yahoo.net/brebalsaxmo.html
I had a Rico Graftonite m/p and didn't like it. This, on the other hand, works for me (on tenor I have a #5). I think Stan Getz at one time played a 5*.
I had a Rico Graftonite m/p and didn't like it. This, on the other hand, works for me (on tenor I have a #5). I think Stan Getz at one time played a 5*.
+1 for Bandmommy's comments.
The Rico Graftonite (used to be called a Rico Royal Graftonite) is a very consistently excellent mpc for the money. I snapped up one out of curiosity when they first came out, the smallest one (!), the model A3, and it became my classical mpc of choice. Then, with a change of reed and ligature, that A3 opened right up and I played jazz quartet and lead alto in a big band on it for years, absolutely true. Attitude, developed chops, and some conception of what you want to hear coming from the horn make all the difference. Now I use a Phil-tone Meyer 6M, but I wouldn't hesitate to use my RR A3 in a pinch, or even the A5, A7, B5, or B7. The Brilhart Ebolin and the Runyon 22 are very viable choices if you want to step up a few dollars.
To the original poster: Listen to a lot of jazz alto, determine what sound you want to hear coming from your horn, and start striving for it. Some mouthpieces may help you lean towards your chosen sound more easily, but ultimately you will sound like you on any and every mouthpiece. Learning what you want to sound like is a majority part of the equation, and all that listening will also help your conception of jazz styling and phrasing. Whether you play your jazz on Selmer C* or D, a Rico (Royal) A3 or 5 or 7, a Ebolin 4 or 5, or a Runyon 22 is almost a minor detail; knowing your chosen mouthpiece's capabilities and your own capabilities are the true items you are seeking.
Lots of people here have huge mouthpiece collections (most of which sit unused in a drawer), and swear by their final mpc choice after years of hunting, so they will doubtlessly disagree with my statements here. Just don't let the mpc become your Holy Grail; develop your physical chops (embouchure, finger and articulation technique) and your mental chops (theoretical hearing of what you play against chord changes, and your mental concept of your desired sound and style).
Don't forget to have fun!
Sax Magic
The Rico Graftonite (used to be called a Rico Royal Graftonite) is a very consistently excellent mpc for the money. I snapped up one out of curiosity when they first came out, the smallest one (!), the model A3, and it became my classical mpc of choice. Then, with a change of reed and ligature, that A3 opened right up and I played jazz quartet and lead alto in a big band on it for years, absolutely true. Attitude, developed chops, and some conception of what you want to hear coming from the horn make all the difference. Now I use a Phil-tone Meyer 6M, but I wouldn't hesitate to use my RR A3 in a pinch, or even the A5, A7, B5, or B7. The Brilhart Ebolin and the Runyon 22 are very viable choices if you want to step up a few dollars.
To the original poster: Listen to a lot of jazz alto, determine what sound you want to hear coming from your horn, and start striving for it. Some mouthpieces may help you lean towards your chosen sound more easily, but ultimately you will sound like you on any and every mouthpiece. Learning what you want to sound like is a majority part of the equation, and all that listening will also help your conception of jazz styling and phrasing. Whether you play your jazz on Selmer C* or D, a Rico (Royal) A3 or 5 or 7, a Ebolin 4 or 5, or a Runyon 22 is almost a minor detail; knowing your chosen mouthpiece's capabilities and your own capabilities are the true items you are seeking.
Lots of people here have huge mouthpiece collections (most of which sit unused in a drawer), and swear by their final mpc choice after years of hunting, so they will doubtlessly disagree with my statements here. Just don't let the mpc become your Holy Grail; develop your physical chops (embouchure, finger and articulation technique) and your mental chops (theoretical hearing of what you play against chord changes, and your mental concept of your desired sound and style).
Don't forget to have fun!
Sax Magic
Antigua Powerbell tenor-Otto Link NY ,Vito Alto -Gigliotti Spectrum, Antigua sop- Morgan 4
Joined
·
575 Posts
Bringing up the old thread because I just tried an A3 on my alto, some people here seem to like them. It was 12 bucks. I have been wanting a large chamber mp for alto so what the heck. Well for me it plays/sounds like a 12 dollar mp, pretty bland. Like my Gigliotti better and my Selmer C* sounds better too. My main contenders for a new one have been a large chamber Meyer or Otto Link Tone Edge, can get better deals on the Link.
Joined
·
38,817 Posts
Have you played the large chamber Meyer? Most people prefer the medium chamber for moderate to small tip openings, and the small chamber for large tip openings. You might like the large chamber, but they tend not to respond in the way that most people like in a Meyer.
A “better deal” is only good if the mouthpiece works well for you.
G’luck in your quest.
Antigua Powerbell tenor-Otto Link NY ,Vito Alto -Gigliotti Spectrum, Antigua sop- Morgan 4
Joined
·
575 Posts
I had another thread where I talked about wanting a mp for my alto that was kind of like my tenor Link STM NY. That's why was thinking a large chamber was what I want but it may not be the same on alto. I want that fat dark sound and seems like the standard meyer is on the bright side.
Joined
·
596 Posts
My first very good “jazz” alto mouthpiece was the Hite Premiere. It’s a sleeper but it’s a great mouthpiece. I’m a Ben Webster, Johnny Hodges, Stan Getz, Paul Desmond fan and I can mimic my heroes with it with both cane and synthetic reeds.
Joined
·
1,435 Posts
Runyon 22
Let us know where you find one. Market has changed in the 12 years since this thread started.
1 - 20 of 22 Posts
