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Discussion Starter · #1 ·
I'm a beginner, I bought my first sax (tenor) about a year ago, had some lessons last Summer, that's about it.

One of my favorite tenor sounds is on Stan Getz' album "Focus". Getz is very smooth...but he gets (Getz!) this hardness thing sometimes. I'd love to have a mouthpiece that can do this.

For instance, on the first track called "I'm Late I'm Late"...

it can be smooth (listen at 2:00)

and it can have this "hard" sound in the medium/upper register with a smoother lower register (listen at 2:56). Actually, listen to the whole song! This is the "palette" that I want.

He's got this overall smooth thing goin' on, but at any instant, he shifts (easily shifts w/o tension) into this "harder" thing. It's not soft/mellow, and also it's not this bright fuzzy commercial "buzz spraying around" thing. The lower soft turns to the hard middle/upper...but it's clean, not a fundamental plus a cheap "chrome spray." Heck, I've heard soundclips of expensive Jody Jazz DV, DV Chi, etc. and even these great mouthpieces have "body + the high spray"...they just don't do it for me.

The Getz family is supporting some mouthiece Stan used near the end of his life. But I'm interested in this particular period when he recorded "Focus"...actually this particular song. Does anyone know what mouthpiece/reed combination he might be using?
 

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Nobody has ever managed to capture Getz' thing... his sound, his unique intensity, his whole vibe of cool and aloof on the surface, with a sense of pent up passion and at times rage just beneath which occasionally bubbled through. This is partly due to is weird double embouchure, and the fact that our uniqueness as humans seems to clearly manifest through the medium of saxophone, and perhaps tenor more than any other. So My advice is to get inspiration from Getz and try to capture the style and feeling, but don't obsess over trying to sound exactly like him, because 1) It ain't gonna happen, 2) you will be wasting a lot of time. When I was a teenager, I listened to Sonny Rollins for days and days, and never could sound like him, but managed to copy his style and by doing so, eventually settled into to own thing. My own thing is not exactly something revolutionary or mind-bogglingly original, not the next big thing, bla bla la... but its ME. Get a superior quality mouthpiece in the general style of what he played. That would be either an Otto Link with a 5-6 tip or a similar Brilhart. And Get inside his sound as best you can and enjoy the revelations you have. Check out his amazing sound on this. Here's a guy who plays like he's got nothing to prove to anyone:
 

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Compare his sound from different eras. Early 50s with the Tone Master, Mid 50s with the Brilhart Streamline, Mid-Late 50s-80s with a mix of Otto Links and Brilharts. I love his sound and style in the 50s the best. His early stuff on Storyville sounds amazing. Also I love his sound and playing on particular on For Musicians Only, of course Focus, the thing I posted above from Sweden in the late 50s. There is an amazing recording called West Coast Live with Chet Baker. The "Nobody Else But Me" record, which is the contemporary with his Verve Getz/Gilberto and other Bossa Nova recordings. His 80s and later recordings are very good, but for me his 50s and early 60s recordings are the very best, and timeless.
 

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Compare his sound from different eras. Early 50s with the Tone Master, Mid 50s with the Brilhart Streamline, Mid-Late 50s-80s with a mix of Otto Links and Brilharts. I love his sound and style in the 50s the best. His early stuff on Storyville sounds amazing. .
Hey Larry,

I think Stan was already using the Brilhart Streamline by 1949 while he was still on the Herman band . That's when he became known as "THE SOUND" :)
The Tonemaster he was using mid-40's IIRC -- 1946,47 .. that record date he made w/ Hank Jones, Max Roach, and Curley Russell .


I agree on the Storyville period stuff(1951) that's my favorite Getz too !
 

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There is no doubt in my mind on that Opus de Bop record that Getz is using a metal Berg, when he was still in his swing-to-bop phase influenced heavily by Dexter Gordon. C'mon listen to that. Some things are just too obvious to my ears. That is not the sound of a Brilhart.

This from 1950 sounds more like a Tone Master with that large chamber and particular subtone and cry to me with a hard reed. Either way listen how sophisticated and polishedhis playing is at the age of I think 23... WOW.. simply amazing. He blew pretty much everyone else out of the water.
 

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There is no doubt in my mind on that Opus de Bop record that Getz is using a metal Berg, when he was still in his swing-to-bop phase influenced heavily by Dexter Gordon. C'mon listen to that. Some things are just too obvious to my ears. That is not the sound of a Brilhart.

This from 1950 sounds more like a Tone Master with that large chamber and particular subtone and cry to me with a hard reed. Either way listen how sophisticated and polishedhis playing is at the age of I think 23... WOW.. simply amazing. He blew pretty much everyone else out of the water.
Wait, I didn't say Getz was on a Brilhart on the 1946 Opus de Bop sessions I said it was a Tonemaster

You think it was metal Berg ??

How many American players had access to the Berg Larsens in 1946(when the recording was made) ?
Wardell Gray didn't get a Berg until 1948, and Pepper Adams ordered his from Ontario, Canada that same year after trying Wardell's .
Charlie Ventura, Coleman Hawkins, and Don Byas; who all used Bergs a few years later, were still using Links in 1946 . I kinda doubt Stan had one

I still think he's on the Brilhart streamline in 1950 . Not arguing with ya, it's just an interesting discussion.
 

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I will try to locate the pic of him in the 1940s playing metal Berg

CLEAR AS DAY... METAL BERG. Thats what the Opus De Bop sounds like to me! Guitar accessory Smile Blazer Tie Font
 

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I will try to locate the pic of him in the 1940s playing metal Berg

CLEAR AS DAY... METAL BERG. Thats what the Opus De Bop sounds like to me! View attachment 67134
Ok, I listened to some cuts from '45 and compared that to the ODB(...not that ODB !) session and I think you're probably right .
Oh, I see that photo, also .

So, do you want the set of steak knives or do you want to see what's behind door number 4 ? :mrgreen:
 

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Hey Larry,

I think Stan was already using the Brilhart Streamline by 1949 while he was still on the Herman band . That's when he became known as "THE SOUND" :)
The Tonemaster he was using mid-40's IIRC -- 1946,47 .. that record date he made w/ Hank Jones, Max Roach, and Curley Russell .


I agree on the Storyville period stuff(1951) that's my favorite Getz too !
Stan Getz on a Berg - who knew. And stranger still, I actually love his sound on it.
 

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Stan Getz on a Berg - who knew. And stranger still, I actually love his sound on it.
I always thought he sounded great on that session and obviously not like the ethereal Getz tone we all know.

A lot of the time I wish he had stuck with that reed-ier sound; it was great ! As he said, he wanted to "..take the reed out of the sound.." .

He did end up with something extremely unique and identifiable and we as listeners just can't have it both ways .

His evolution in sound is fascinating to listen to, though -- that Stan Getz had a nice bunch of sounds . . :)
 

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Discussion Starter · #13 ·
Hey, listen to this youngster play lightly on a Link STM NY 7. He's not "digging in"...but I really like this type of sound! This looks like a metal one, .100" tip (7) right? I might go for something like this. I wish he played louder, but some louder notes at the very end have that "hardness" I'm looking for. It's not two sounds superimposed (tonal plus high spray)...it's just one sound...one compact sound.

 

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Hey, listen to this youngster play lightly on a Link STM NY 7. He's not "digging in"...but I really like this type of sound! This looks like a metal one, .100" tip (7) right? I might go for something like this. I wish he played louder, but some louder notes at the very end have that "hardness" I'm looking for. It's not two sounds superimposed (tonal plus high spray)...it's just one sound...one compact sound.

i dig it. That youngster is already swinging hard.

When someone asked Zoot Sims about Stan Getz, supposedly, Zoot replied " he's a nice bunch of fellas". So it only seems reasonable that he had "a nice bunch of sounds".

i have that Opus Di Bop session, and his sound always puzzled me because it is so un-getz like, but a nice sound none the less. It seems clear that Stan could make many sounds but chose his eventual sound for artistic reasons.
 

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Discussion Starter · #18 ·
no, i don't. Sorry.
Here he is w a .105 Selmer soloist!
"On Green Dolphin St".

He's also got this group "Tokyo Jazz Seven" where he plays alto (several videos on the net). I never heard of him until I started searching for mouthpieces a few weeks ago!

I'm thinking of a Link NY 7* or maybe this Selmer soloist....that would be a 7* also. Decisions decisions.
 
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https://www.youtube.com/user/henspeckledold/videos

Check him out playing louder in this clip. nice control,style, and big sound!


Hey, listen to this youngster play lightly on a Link STM NY 7. He's not "digging in"...but I really like this type of sound! This looks like a metal one, .100" tip (7) right? I might go for something like this. I wish he played louder, but some louder notes at the very end have that "hardness" I'm looking for. It's not two sounds superimposed (tonal plus high spray)...it's just one sound...one compact sound.

 
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