[blaine hoopes]

Just was wondering what brand horn this is in the picture. The shape of the bell engraving and guards are piquing my curiosity. Also the neck brace

 

[400VI62]

The shape of the guards, brace on the neck and the octave pad placement on the neck, I think it could be a low A Dolnet.

 

[B Flat]

Dolnet

 

[blaine hoopes]

Thank you both! After reading your posts, I googled Dolnet Baritone Saxophone and found this picture that makes it pretty clear:

 

[John Laughter]

Email bio from Mike (January 15, 2002); "Terry was born in July1940 in Hempstead, Texas. He moved to Detroit in 1948 and started playing sax at age thirteen. Soon after graduating from CASS Tech in 1959, he was introduced to Berry Gordy, the founder of Motown Records, by playing on a session contracted by Kasuka Mafia. He stayed at Motown until late 1966 and played on hundreds of sessions including: the Miracles' "Shop Around," Marvin Gaye's "Hitch Hike," "How Sweet It Is," and "Pride And Joy," The Four Tops's "I Can't Help Myself" and "Something About You," The Supremes' "Baby Love," "Where Did Our Love Go," "I Hear A Symphony," Martha & The Vandellas' "Dancin' In The Street," "Quicksand," Jr. Walker's "Shotgun," "I'm A Road Runner," and The Temptations' "My Girl." Mike also performed on The Contours' album which included "Do You Love Me," Stevie Wonder's "Castles In The Sand," and Shorty Long's "Function At The Junction."

According to Mike Terry, there are so many more that one would have to listen to Motown's collections. After 1966 Mike arranged songs for other artists in Detroit including the Fastastic Four and Edwin Starr. He arranged and performed on "Cool Jerk" by the Capitals. He arranged and performed the Broadway play Bigtime Buckwhite, starring Boxer Mohammed Ali. Mike also scored two movies for actor Fred Williamson and is presently working on in-house productions. "My saxophone is a Dolnet made in Paris, France. I bought it new in 1962. My mouthpiece is a Berg Larsen and I use a Lavoz 2.5 reed."

Andrew Terry is his full, and correct, name and the one that always appears on song writing credits. As an arranger, the name "Mike Terry" frequently appears, which is misleading because Mike is not his real name. The derivation of the nickname Mike has an interesting history. "I've always been called 'Mike', way back from when I was a teenager, but where it comes from I've got no idea! Everyone stills calls me by that name, including my wife."

 

[1saxman]

Man! Thanks for that info because I have wondered for many years who had that great bari sound on those records! Deep, soft lows and a sizzle on top. Plus, a tremendous feel for playing baritone on those songs. I believe he was given free rein to do what he felt over and above the arrangements because his contribution to those hits was of great importance.
A little off-topic, but after listening to 'Baby Love' for all these years, when I got XM in my car with a good system, I heard something on it one day that was a revelation. Nothing to do with the baritone, but I heard for the first time how the guitar '*****' on every 2 and 4 in the song was actually augmented by some high brass horns after the first verse. It was so buried in the mix that it took technology to make it jump out at last (for me, at least - I have lost some high-end hearing) but hearing it, you realize that it gave the song just that little amount of spice on top of the sweetness.
But on the bari, I'm also glad to know it was a Berg metal, probably not over 100, because they are noted for giving that kind of sound.

 

[John Laughter]

You are welcome. Motown had many excellent musicians on board through the years and Mike left his signature sound on so many of the hits. He felt real good about other sax players knowing his name and the songs that featured his sound. I never spoke with Mike. We just traded a few emails.

 

[milandro]

The shape of the guards, brace on the neck and the octave pad placement on the neck, I think it could be a low A Dolnet.

I beg to differ.
Seen the reach in the pictures of the top of the bell , the one in OP picture shows Mark Terry on a low Bb Dolnet ( compare to the later picture showing the Low A bell reach)

THERE ARE OTHER PREVIOUS THREADS ABOUT THIS HORN

First off, I hope this is the correct area in the forum for this, if not, my apologies.

I have been wondering, for some time now "what ever happened to Mike's Dolnet Bari Sax?". After he hung it up in the late 60's, and his unfortunate passing in 2008, I just wonder to myself where did his Bari end up? (I think this of many things in life, especially with artists like him).

In a thread on this site, I read he purchased this Dolnet in 1962, and that horn I believe was a Low A (please correct me if I am wrong here). However, after he was done, where did it go? Anyone know by chance?

I have read up about everything I can find on Mike Terry throughout many web searches, and other forums. However, this one question still makes me wonder....and I ask because this is by far my favorite "Sax Style" you could say, that beautiful Motown sound of the growling Bari that Mike did so well, and wondering where that Motown Bari ended up...

I seem to recall that there was a low A Dolnet on eBay, a few years back, being sold by a church in Michigan.

By chance are you suggesting it "may" have been Mike's horn? I only ask this because I have been trying to actually track down where this horn might have gone, so far I have not had any luck with the people I have reached out to, and other contacts they have given me...

John, I believe I have that picture too, his daughter sent me some other ones also. Sure would be neat to find out where his horn is though!!

Mark Terry didn't only play Dolnet, but next to the Low Bb Dolnet in the first picture he certainly had also a Low A dolnet (shown in the picture below although a bit out of focus)

 

[MNSaxMan]

I know this is an old post, but I too still want to know more! Last year I damned near had a deal worked out on a BEAUTIFUL original Low-A Dolnet as Mike played, unfortunately for me I was literally a couple hours late in calling the guy. He told me if the deal fell through I was next in line. I got a call a few hours later, the Dolnet was sold....

Wish I could have gotten that sax, I think it was around $3k and had been completely gone through, ready to play.

 

[MNSaxMan]

Couple more pics of Mike....I received these pictures from his daughter.

Really wish I could track down where his sax went..

Here he is on a Tenor

Here he is in the background with the handkerchief.

Far left is Mike..

 

[John Laughter]

🎷

 

[rojox]

I bought a low A Dolnet Bel Air Bari form eBay in 2015. The serial number indicates that it was manufactured around 1962, which is the year Mike Terry bought his Dolnet. The one I bought has silvered keys whereas the photos of Mike's bari shows his keys are lacquered. It was shipped from the US to the UK and may have sustained a bit of damage on the journey as I had to have some work done by a repairer to get it into shape. The peculiar thing about the Dolnet is that the curly bit curls to the right whereas other baris have a left hand curl.
In the black and white picture of Mike Terry with the rest of the Funk Brothers (above) he is holding what looks to be a low Bb bari. It's doesn't appear to be a Dolnet because it has a left hand curl. If that is the case the photo is probably from 1961. I'd be interested to know what Mike's bari was prior to the Dolnet. It looks very much like an old Conn I used to have.

 

[John Laughter]

This may or may not help. Mike sent a color photo of him holding his bari. I will try and upload it;

1/11/2002 1:05 PM Eastern Standard Time

"MR. LAUGHTER I GOT YOUR PACKAGE. IT'S VERY INTERESTING. YOU'RE ONE OF A KIND. HANK COSBY AND MYSELF AS I REMEMBER WERE THE ONLY SAXS ON THE SESSION OF BABY LOVE 1964…MIKE TERRY GOD BLESS…"

ANDREW "MIKE" TERRY (courtesy Mike Terry)

Terry was born in July1940 in Hempstead, Texas. He moved to Detroit in 1948 and started playing sax at age thirteen. Soon after graduating from CASS Tech in 1959, he was introduced to Berry Gordy, the founder of Motown Records, by playing on a session contracted by Kasuka Mafia. He stayed at Motown until late 1966 and played on hundreds of sessions including: the Miracles' "Shop Around," Marvin Gaye's "Hitch Hike," "How Sweet It Is," and "Pride And Joy," The Four Tops's "I Can't Help Myself" and "Something About You," The Supremes' "Baby Love," "Where Did Our Love Go," "I Hear A Symphony," Martha & The Vandellas' "Dancin' In The Street," "Quicksand," Jr. Walker's "Shotgun," "I'm A Road Runner," and The Temptations' "My Girl." Mike also performed on The Contours' album which included "Do You Love Me," Stevie Wonder's "Castles In The Sand," and Shorty Long's "Function At The Junction."

According to Mike Terry, there are so many more that one would have to listen to Motown's collections. After 1966 Mike arranged songs for other artists in Detroit including the Fastastic Four and Edwin Starr. He arranged and performed on "Cool Jerk" by the Capitals. He arranged and performed the Broadway play Bigtime Buckwhite, starring Boxer Mohammed Ali. Mike also scored two movies for actor Fred Williamson and is presently working on in-house productions. "My saxophone is a Dolnet made in Paris, France. I bought it new in 1962. My mouthpiece is a Berg Larsen and I use a Lavoz 2.5 reed."

Andrew Terry is his full, and correct, name and the one that always appears on song writing credits. As an arranger, the name "Mike Terry" frequently appears, which is misleading because Mike is not his real name. The derivation of the nickname Mike has an interesting history. "I've always been called 'Mike', way back from when I was a teenager, but where it comes from I've got no idea! Everyone stills calls me by that name, including my wife."

1/18/2002 2:10 pm Eastern Standard Time

"I AM VERY EXCITED ABOUT WHAT YOU ARE DOING. A TRUE HISTORIAN AND MUSICIAN. I WILL KEEP IN TOUCH. GOD BLESS…MIKE TERRY….!!!!!!"

Andrew Alexander "Mike" Terry, saxophonist and record producer, born July 1940; died October 30 2008

 

[John Laughter]

 

[John Laughter]

 

[mrpeebee]

My friend Julian Pressley, who was heavily inspired by Mike's baritone playing in the 60's, shared these great clips with me:

(solo Mike just after 1:10)

(solo Mike just after 1:20)

(Mike wrote the string arrangement for this)