Opinions/Advice

Jamey Aebersold is fun and everything he preaches can be taken to any level of playing. Actually he approaches music from a very simple standpoint, but it is very effective. But anyway back on topic.

What type of P. Mauriat do you have? I know several pro's who have been using Mauriat's, Cannonball's, Jupiter's, and Antigua's as their main horns and sound phenominal on them. Chris Hemmingway is currently using a Cannonball alto. Kenny Blake has been using an Antigua tenor with his Mark VI alto and soprano during gigs. Both sound...much better than me, but I don't think that has much to do with the horn. I'm curious as to what you do not like about your P. Mauriat as they are really good horns.

I do not have experience with the Committee, but if it is a relacquer I would take caution before I trade for it. A bad relacquer can effect playability and will effect resale. Play it up and down with a tuner in hand. Throw everything you have at the horn and if you are satisfied, go with it.

Of the three horns you've mentioned, MY first choice would be the Buescher True Tone. These are considered to be one of the best horns of the 20's. Actually the TT is the horn of choice by many modern saxophonists as well. Please keep in mind that the horn will feel much different than your modern P. Mauriat. The keywork is neither better nor worse but rather a personal preference and you must decide which you like better. Not all of these had the auxilary F key. If you like using the front F, you will have to have a tech solder on the key for you. This will cost around $100 and may effect resale value.

Please keep in mind that even though you are not a gigging musician now, things change. Take time with all three horns and decide which suits YOU the best. Try to imagine which horn you would rather be playing if you were gigging 5 or 6 nights a week. It is a stretch, but it will help you make a wiser choice.

Sorry, I must have been half asleep and misread the original post and thought that the TT for trade was an alto. Grumps is correct though regarding the lacquer not being original. The horn would have originally been bare brass. Honestly, I think that your best bet would be to keep the P. Mauriat. An after market lacquer TT can be had on ebay in good shape for less than $500. Taking the original cost of the P. Mauriat into consideration, I would only trade it for a Silver or Gold plated TT in pristine condition. Please keep in mind that this is my opinion based on the current market values of the horns in question. By all means though, if the True Tone is a screamer and fits you like a glove, don't let resale get in between you and the creation of good music.

After reading your second post, I would suggest putting some money into repairing the Indiana Tenor (which by all means is a decent horn) and keep the P. Mauriat alto. This will allow you to work on both alto and tenor and that will increase your versatility when you feel that you are ready to gig. Don't feel obligated to split your playing time evenly between both horns. I spend most of my time on tenor, but still manage to squeeze in alto, soprano, clarinet, and even bass guitar.

If you feel that you have a few standards and chord progressions under your belt, by all means start looking for a local jazz club that has open stages. Professional musicians typically host these events and it is a good way to test your skills, meet some really cool musicians, and recieve free tips and lessons. I like finding as many of these open stages as possible. Actually, I've landed a few gigs this way. I will usually take a small notepad and write down any tip that is told to me. What better way to get where you want to go than by talking to people who are already there?