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Discussion Starter #1
One of my students just received a Barone Classic alto. It is a great horn and I love playing it when I get a chance. Today my student wanted to try my Jody Jazz DV so I said sure. I played the piece that came with his alto. It is a Barone 5m Meyer copy. The piece is really good. I can't believe what a nice piece the horn comes with. I didn't like the tenor piece that came with my Classic but I have a Hollywood which is one of Phil's best offerings. My student asked if I would trade the Jody Jazz for the Barone. I almost did it but I couldn't do it for two reasons.
1. I play an 8* on alto and the 5m was a little small for me but I still got on really well with it.

2. I couldn't trade my student and feel good about it. Even though the Jody Jazz is worth more in the market place I think his needs in the future will be met better by the Barone. The Jody Jazz is a loud beast of a piece. You really have to have strong chops to get it to blend well in a big band setting at lower volumes. I think I will be ordering one from Phil soon in a bigger tip. The Jody Jazz works well for me in rock solo settings but that Barone just played and sounded great. If is a great all around alto piece and it cost a lot less than the Jody Jazz.

Thanks Phil for giving such a great professional set up to my student. He instantly sounded better on it. He was on a Vito with a C*.
 

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So is the classic more of a well rounded Selmer like core, from what I have read? The Vintage would be more Conn big bore type of sound? I know many of talked about this. Just wondering your thoughts.
 

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I purchased an alto from Uncle Phil at the end of 2007 and I was very happy with the HR mouthpiece that came with it. It is the same as my NY Meyer and I play which ever one comes to hand first with no major difference.
 

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Discussion Starter #4
So is the classic more of a well rounded Selmer like core, from what I have read? The Vintage would be more Conn big bore type of sound? I know many of talked about this. Just wondering your thoughts.
This is also what my experience has been. I haven't had the pleasure of playing a Classic alto up against a Selmer like I have on the tenor but if I get a chance I will share my thoughts for sure.
 

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I have a Barone Vintage and the mouthpiece described by Shane in the OP. I also have the Classic tenor and now play it with a Hollywood 7* - haven't gigged with the new piece yet but it's growing on me day by day.

Alto is not my main horn but the Vintage is very, very impressive. I had a YAS-23 for years and it's a good reliable little horn, but the PB Vintage is turning heads and not just because folks aren't used to me playing the little fella.

I'm not really tuned in to the focus/spread debate - it's a bit too subtle for the way I play. But the alto/mouthpiece combination I have is a really terrific fit for me. I find myself picking it up more and more on stage. I'm also "rediscovering" old familiar standards in a new key. I've usually had to do this mainly when a singer wants to be more comfortable. When that happens the whole band is often on edge (not just because of the key - you know what I'm talking about). It's great when they're stomping through a familiar tune and I can fly into it in a "new" key.

So, for the sound, the build quality, the price and the service, I'm a big supporter of Phil's stuff.
 

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Discussion Starter #7
I have a Barone Vintage and the mouthpiece described by Shane in the OP. I also have the Classic tenor and now play it with a Hollywood 7* - haven't gigged with the new piece yet but it's growing on me day by day.

Alto is not my main horn but the Vintage is very, very impressive. I had a YAS-23 for years and it's a good reliable little horn, but the PB Vintage is turning heads and not just because folks aren't used to me playing the little fella.

I'm not really tuned in to the focus/spread debate - it's a bit too subtle for the way I play. But the alto/mouthpiece combination I have is a really terrific fit for me. I find myself picking it up more and more on stage. I'm also "rediscovering" old familiar standards in a new key. I've usually had to do this mainly when a singer wants to be more comfortable. When that happens the whole band is often on edge (not just because of the key - you know what I'm talking about). It's great when they're stomping through a familiar tune and I can fly into it in a "new" key.

So, for the sound, the build quality, the price and the service, I'm a big supporter of Phil's stuff.
The more time you spend on that Hollywood the better it gets! It ruins you for other mouthpieces.
 
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