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Thank you, a casual search fails me on Committee III but as Martin saxes ended in 71, I guess this may be before 1970? My impression from my own baris is that my '50s King may not be all that vintage, in this particular matter.
 

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Discussion Starter · #23 ·
Thank you, a casual search fails me on Committee III but as Martin saxes ended in 71, I guess this may be before 1970? My impression from my own baris is that my '50s King may not be all that vintage, in this particular matter.
The regular shank Florida, Indiana, and Classical Models should work well with Martins, Kings, Conns, etc. The chambers are large enough that intonation on most vintage American baritones from the 1920s - 1970s will be fine. If you are looking for a bass mouthpiece or you have a really old baritone...pre 1920, then the XL shank would probably be the right option.

The GM Model does not have as large a chamber, so if you are on a Selmer Paris or most any modern horn, the regular shank should work well. However on most any vintage American baritone from the 1920s - 1970s, the XL shank would probably be best. We would not recommed this model for bass saxophones without doing additional custom work...but then it is really no longer the GM Model.

Of course, we are always happy to assist with a mouthpiece selection. Feel free to email any questions to [email protected]
 

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The regular shank Florida, Indiana, and Classical Models should work well with Martins, Kings, Conns, etc. The chambers are large enough that intonation on most vintage American baritones from the 1920s - 1970s will be fine. If you are looking for a bass mouthpiece or you have a really old baritone...pre 1920, then the XL shank would probably be the right option.

The GM Model does not have as large a chamber, so if you are on a Selmer Paris or most any modern horn, the regular shank should work well. However on most any vintage American baritone from the 1920s - 1970s, the XL shank would probably be best. We would not recommed this model for bass saxophones without doing additional custom work...but then it is really no longer the GM Model.

Of course, we are always happy to assist with a mouthpiece selection. Feel free to email any questions to [email protected]
As another data point, my main bari is a 1938 Buescher "Custom Built" Aristocrat (model 139, pictured) on which I now play a GM 8* (.105" tip) with a regular length shank. The intonation is spot on with the mouthpiece placed 1.25" onto the neck cork. If you are not familiar with these horns, the neck is small; it could literally fit into a cigarette pack and these horns are extremely mouthpiece friendly. Although I have not tried it on a Big B or other model 129 bari, I suspect it would also work well on those horns.

BTW, I'm really loving the sound that I get with this combination....thanks to Morgan Mouthpieces and Junkdude.
 

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As another data point, my main bari is a 1938 Buescher "Custom Built" Aristocrat (model 139, pictured) on which I now play a GM 8* (.105" tip) with a regular length shank. The intonation is spot on with the mouthpiece placed 1.25" onto the neck cork. If you are not familiar with these horns, the neck is small; it could literally fit into a cigarette pack and these horns are extremely mouthpiece friendly. Although I have not tried it on a Big B or other model 129 bari, I suspect it would also work well on those horns.

BTW, I'm really loving the sound that I get with this combination....thanks to Morgan Mouthpieces and Junkdude.
Hi Bob, I've heard and enjoyed Saxtek's clip of the GM mouthpiece but how would you describe it for yourself ?
 

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Tryp - I really like saxtek's clip too. He doesn't sound like a Mulligan clone on that clip and I don't either. Using Lavoz MS reeds (I'm also checking out M strength) or Alexander DC 2.5 my sound is more in the zone of Paul Nedzela (now plays a vintage Gregory) and Kenny Berger (slant HR Link). I've also seen videos of Roger Rosenberg playing a vintage HR Link...same kind of sound.

Because of the .105" tip, it has a more prominent baffle which is visually like that of an Early Babbitt Link, which, coupled with the medium chamber gives a nice focus with a full robust sound. I should also note that I have spent a great deal of time "taking lessons" with Joe Temperley via the great videos which he did for JLCO shortly before he died.

I have gone back and forth with mouthpieces in the style of the GM and baffled pieces. The bottom line is that although I love Pepper Adams sound when he plays it, I don't like it when I try to do so. I am much more at home with a sound that is common to the younger players Temperley mentored, which in addition to Nedzela include Carl Maraghi and Andrew Gutauskas, than I am with the brighter, edgier sound. The GM is helping me get there.
 

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Tryp - I really like saxtek's clip too. He doesn't sound like a Mulligan clone on that clip and I don't either. Using Lavoz MS reeds (I'm also checking out M strength) or Alexander DC 2.5 my sound is more in the zone of Paul Nedzela (now plays a vintage Gregory) and Kenny Berger (slant HR Link). I've also seen videos of Roger Rosenberg playing a vintage HR Link...same kind of sound.

Because of the .105" tip, it has a more prominent baffle which is visually like that of an Early Babbitt Link, which, coupled with the medium chamber gives a nice focus with a full robust sound. I should also note that I have spent a great deal of time "taking lessons" with Joe Temperley via the great videos which he did for JLCO shortly before he died.

I have gone back and forth with mouthpieces in the style of the GM and baffled pieces. The bottom line is that although I love Pepper Adams sound when he plays it, I don't like it when I try to do so. I am much more at home with a sound that is common to the younger players Temperley mentored, which in addition to Nedzela include Carl Maraghi and Andrew Gutauskas, than I am with the brighter, edgier sound. The GM is helping me get there.
Makes sense - thank you !
 

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Discussion Starter · #29 ·
https://www.morganmouthpieces.com/blogs/news/hacked-preview-of-our-new-baritone-saxophone-mouthpiece

Wow!!!! It is amazing to me that the mold still exists, and is in fine condition, that you were able to locate it and purchase it and produce new mouthpieces with it. Maybe you could share some details about how you acquired this historic relic.
All the following information relates only to the GM Model Baritone...not the new Classical, Florida or Indiana Baritone Models.

We will put together a way too long article about this on the website blog this week or next, but here's the short version...

Late 1960s: M.C. Gregory / Gale went out of business.

Late 1960s: Charles Bay purchased the assets including the molds but never put the molds into production.

1980: Ralph Morgan started the Morgan Mouthpiece Company to bring back the lost art/science of handcrafted mouthpieces.

Late 1980s: Gerry Mulligan broke his Gale mouthpiece and nearly retired because of it. Fortunately, it was repaired for him and he continued playing.

1980s: Gerry Mulligan begged Charles Bay to make a new mouthpiece from the old mold, but Charles could not do it.

1980s-2000s: Ralph Morgan knew how to use the molds and had always wanted to purchase them from Charles Bay, but Charles would not sell.

2007: Ralph Morgan passed away.

2016-2018: Charles Bay may have passed away…there is some debate on this.

Fall 2017: An antique dealer purchased some box lots from the "Charles Bay Estate" auction…which may have actually been a delinquent storage unit auction.

October 2017: The Antique dealer listed "Mouthpiece Shaping Tools" on eBay.

October 2017: An astute Morgan customer realized the Gregory molds were on eBay and alerted Erik Greiffenhagen of Morgan Company.

October 2017: The Morgan Company purchased 8 molds from eBay including the baritone mold.

Winter 2017/2018: The Morgan Company put the probably 70+ year old Gregory Baritone Mold into production again.

Spring 2018: The Morgan Company started selling the new Gregory Mold (GM) Model Baritone Saxophone Mouthpiece.

Fall 2019 (hopfully): The Morgan Company will start production on the GM Altos and GM Tenors Models.

So, with some crazy luck and a lifetime of knowledge and skill, we will revive this once great line of mouthpieces…we should have the 16, 18 and 20 core alto and tenor mouthpieces available late this year.
 

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Although the Morgan GM is the perfect mouthpiece for achieving a Mulligan-like sound, I don't sound like Gerry Mulligan on mine (see my Youtube video under Randy Emerick Morgan GM mouthpiece
) I probably use a softer reed than Gerry Mulligan did, and my baritone saxophone is a Selmer, not a Conn.
I have an old MC Gregory baritone mouthpiece made from the same mold as the Morgan GM, way back in 1938. In 1938 the Gregory must have been considered a VERY powerful mouthpiece. I am amazed at how much sound the Gregory (and the Morgan GM) can produce while maintaining the pitch (intonation) tendencies of early mouthpieces. The GM is definitely a problem solver for baritone players who tend to play sharp in the upper register, and it can compete with other saxes using loud modern high baffle mouthpieces.
 

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Man this Morgan Florida just gets better and better! I mean really, this time. Not just the flavor of the season or whatever. Not this time. Really.
What tip size did you get, why did you choose the Florida over the Indiana, and which of the previous pieces you've played is it closest too?
 

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Man this Morgan Florida just gets better and better! I mean really, this time. Not just the flavor of the season or whatever. Not this time. Really.
Have you had the Grande supreme or even the Aizen SL piece prior to this piece?
If yes how would you compare them?
My Grande Supreme was very ordinary and very chirpy when I got it, but Sebastian Knox turned it into a great piece.
The Aizen has no such issues and is still one of my favourite pieces.
 

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I had a Grande Supreme at .120, was very nice but just a little edgy for me. Also have one of the pieces Pete Thomas sells, and it’s very nice but just a little edgy for me. I can get a hint of what I want out of either, and probably could learn to use either. The Florida is just right, has just the right resistance, and I like to push it hard. I don’t do well with a very high rollover type baffle, so that’s why I chose the Florida over the Indiana model. It has enough edge and projection and that big warm purr I like. Every word sounds like a cliche, but I don’t know how else to describe it. Big, fat, loud but pretty. If I dropped and broke it, my Rubber Berg 120/M/1 refaced by Mojo would go on. Or a 120 STM with baffle added by mojo.

Mine is .110 tip. Using 3.5 Orange box Ricos, but still experimenting with reeds. I could probably go with something harder. If there’s a fault it’s that it will not tolerate just any crappy old reed.
 

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I found the Grande a little too edgy at first, but since it was altered that was no longer an issue.
Also using my trusty old Rico Royals rather than Fibracell made a huge difference.
The Aizen is better all around though.
I’d love to try the GM model, but don’t wish to sell a kidney for the experience.
And you don’t see them on the used market yet.
 

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I found the Grande a little too edgy at first, but since it was altered that was no longer an issue.
Also using my trusty old Rico Royals rather than Fibracell made a huge difference.
The Aizen is better all around though.
I'd love to try the GM model, but don't wish to sell a kidney for the experience.
And you don't see them on the used market yet.
I have seen a couple of the GM models for sale of facebook.
 

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I'm quite sure that I'm the new owner of the Grande Supreme .120 that belonged to BH9. It's my new fave, fab tone, a huge dynamic range and it honks! It makes my HR Bergs seem mild mannered in comparison.
 

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Is there any chance you are going to reintroduce the M.C. Gregory Model A mouthpiece for alto? There are several Paul Desmond fans I now who would like to own one of these pieces.
 
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