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My VI is in the shop, but I loves me my trusty '46 RTH 10M as well, and it's nice to be "forced" to play it from time to time. My regular tenor mouthpiece is a glorious Sakshama STM, but I've had this GW Slant for a while and I've never played it before with the Conn.

So, from last night's gig: My Trusty Conn 10M & My GW Slant, Together Again For The Very First Time... Check it out and tell me what you think of the combo...

BY THE WAY, I JUST GOTTA TELL SOMEBODY: at the end of the night JUNI BOOTH, the bassist extraordinaire on Steve Grossman's Way Out East sessions (amongst a gajillion other great recordings, with everyone from Sun Ra to Tony Williams to McCoy Tyner) sat in on a couple of tunes, and it was VERY DAMN BEAUTIFUL!
 

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Kelly, this is great! Your playing, and the combo. Some of the best support I've heard from just bass and drums!

Is this the same group you posted a few (6-9?) months back? Dharma Boppers or something (or maybe that was the name of the tune)?

Top notch.

Thanks for posting it,

Howard
 

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Got some good stuff going on there.

I have a hypothetical for you. Pretend (doG forbid) that some lousy fargin' bastidge stole your Mk VI. Could you continue indefinitely on your 10M without it messing up your vibe and your conception?
 

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Some of the best support I've heard from just bass and drums!
Thanks, Howard! This is a different group from the group on the Dharma Brats recording, but I agree with you about their wonderful playing... John Werick, one of my favorite bassists in Buffalo, is the go-to guy for trio stuff for me...

I have a hypothetical for you. Pretend (doG forbid) that some lousy fargin' bastidge stole your Mk VI. Could you continue indefinitely on your 10M without it messing up your vibe and your conception?
Without a doubt! If Dexter and Bergonzi and Lovano and get *their* stuff over on a 10M, a 10M will certainly handle my more modest utterances. If I were to play this tenor and this tenor only, I *might* move the straphook to change to change the balance of the horn -- when I first got it, this really bothered me, but I'm finding it to be less and less of an issue, so...

I'd definitely remove the G# trill key, because it flops around in a distracting way as I'm moving around with my right hand.

But, all in all, if I had to I could stick with this tenor and never look back -- in the same way that I ditched my 5-digit VI alto for a Buescher TH&C that killed it, with zero regrets!
 

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Kelly - I like your sound on the 10M! My second tenor is a 1945 silver plated 10M which MA tech Ernie Sola re-built and customized for a guy who wanted it to feel like his MkVI. Among the mods were to move the strap hook, re-angle the neck remove the G# trill and Eb trills and move the pearls around a bit. After all that, the horn apparently wasn't the guy's thing and I ended up buying it. They are great horns!

Have you played your Tenney Berg on the horn? Sal Nistico, who also could get around the horn pretty well, killed on a 10M with a Berg!
 

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Discussion Starter #6
Have you played your Tenney Berg on the horn? Sal Nistico, who also could get around the horn pretty well, killed on a 10M with a Berg!
I'll have to try that combo: the glory of the Tenney Berg is that you could cut through anything with it; with that piece and the Conn, I could probably break out of jail...
 

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Kelly - Since recommending the Tenney Berg/10M combo you you, I had to try it myself (I have a Tenney 110-2 ramp baffle). Definitely a "break out of jail" combination!
 

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Sounds very good, but to be honest, I prefer your excellent playing with the Berg/Mark VI set up from the youtube videos from an art gallery in Buffalo.
 

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Nice playing Kelly. You remind me of Bergonzi .
Whoa, there, Mike! Not Worthy, unless we're going along the lines of "Very Budget Bergonzi" or, better, Concussed Bergonzi.

Sounds very good, but to be honest, I prefer your excellent playing with the Berg/Mark VI set up from the youtube videos from an art gallery in Buffalo.
Thanks, Stretch, I appreciate that take. Useful data to ponder...
 
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