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I was wondering if anyone could give me some advice on how to get a good jazz sound. I am currently playing on a Keilwerth ST 90 bari which has a nice full, rich sound but sometimes it lacks that edge for jazz. I want a bright sound that has energy and like I said, that jazzy edge to it. Would trying some different mouthpieces and maybe some different reeds potentially get me the sound I want? By the way, I am also playing on a Selmer C** mouthpiece. Thanks!
 

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Changing your mouthpiece would be the first step after you get a good feel for what you want your jazz sound to be like. Many people will probably chime in saying you can play jazz on a C**, however something a little more open will allow you more volume/projection and flexibility for jazz work. I would stick around a 5 or 6 opening on some more jazz-type bari pieces, unless you're going to be seriously shedding to play tips of 7 (.110) and above. The hard rubber otto links are good, and my metal Link STM for bari is a favorite of mine as well. Something like the Runyon Quantum is also a good choice, however their tip opening scale is different from regular to make sure to double check the tip sizes.
 

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Yes, a change from a Selmer C** would be ideal. Also, make sure to have a clear sound concept of what you want your tone to be. And I mean a crystal clear concept.

For me, I am primarily a classical saxophonist now but I used to only play jazz. I had a great sound IMO and then started working with a Rascher mpc on classical. My jazz tone concept got a little lost and now my jazz tone sounds less buzzy and more smooth and dark. Not what I really want but I'm listening to more and more jazz every day (used to only listen to it) along with playing classical. I even got a new mpc this past summer (Drake Son of Slant 7) and it had that dark, rich tone with some buzz and now I have to work to get that buzz that used to happen naturally.

Note: This is for tenor, I play mostly classical alto and soprano now. May start playing some jazz alto in big band next semester...

Tone concept is everything IMO. If you have no idea what you want to sound like then your tone will reflect that; confused and unsure (metaphorically speaking of course). This is why listening to many different players is important. You take what you like from certain players and incorporate those traits in your playing and soon you'll find your own sound.
 

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Start cheap. Try a little softer reed first. Noodle around on that for a week or so to see if it's 'close' to what you want.
Push it, play around a little with your embouchure, work on getting that 'Jazz Attitude'.

After that you can start trying out other mouthpieces. As your band director/private instructor (if you have one), if there are any laying around that you could test out.
If not, try a few at a local music shop. BUT be prepared for a little 'sticker shock'. Bari mouthpieces can be a bit expensive.
I like to find what I like in the store, shop around for a better price, then decide if I REALLY need it.
 

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I have to agree with the suggestions for softer reed and lots of listening and copying.

Despite what most people would say, you can get a jazz tone on a C**. Imagine if a jazz veteran were to play your C**. Would he/she get a jazz tone? Absolutely yes! Joe Henderson played a small tip Selmer. John Coltrane played a medium tip Link with a large chamber. Sonny Rollins at one time played a Woodwind New York -- also large chamber.

The converse would be true as well. Some players use hr links for classical.

It's more the air and reed and embouchure guided by concept rather than the choice of mouthpiece. Find a buzzy reed and have fun!
 

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Despite what most people would say, you can get a jazz tone on a C**. Imagine if a jazz veteran were to play your C**. Would he/she get a jazz tone? Absolutely yes! Joe Henderson played a small tip Selmer. John Coltrane played a medium tip Link with a large chamber. Sonny Rollins at one time played a Woodwind New York -- also large chamber.
I won't argue that those mpcs worked for those players, but the OP said they want a bright and edgy tone. Not ideal on a Selmer C** IMO
 
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