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Discussion Starter #1
I've been wondering for a longer time whether there are professionals outside playing a Super 20?
If you're looking at all the setup lists in the net you always read Mark VI, Mark VI,Mark VI and ... Mark VI, Ba, SBA, somtimes SA80.
I often have the impression that the king,conn, martin, buescher vintage market (at last here in europe) is more for the qualified amateur or the collectors. All the pros I know play Selmer!
So, if you now somebody I'd love listen to him or her!
Regards!
Chris
 

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Yusef Lateef, Wilton Felder, Johnny Griffin, and Cannonball Adderly, to name a few. I traded a Balanced Action tenor for my Super 20 and I'll guarantee I got the better end of the deal!
 

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Wardell Gray
 

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NorthGermanFishhead said:
I often have the impression that the king,conn, martin, buescher vintage market (at last here in europe) is more for the qualified amateur or the collectors.
Welcome to SotW, NGF. Your observation inspires some questions:

Selmer set up a U.S. distributor so there are a lot of Selmer horns in the U.S. Might anyone know what year they started their business in the U.S.? It seems they have been in the U.S. almost as long as Selmer has been making horns.

Did the American builders have a similar, reciprocal arrangement in Europe? Were Kings and Conns (and the rest) formally distributed in large numbers or did those horns have to emmigrate to Europe with musicians?
 

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Let's not forget Bird on the list of Super 20 players (however, Bird always had his sound no matter what he played- the Massey Hall Concert, which he played using a plastic saxophone, is a perfect example of that). There were some other well known musicians that played other horns. Lester Young played a Conn and Sonny Rollins actually played a Super 20 earlier in his career. As far as guys out there today, Phil Wodds endorses Yamaha horns and I know quite a few professional musicians here in Chicago that play vintage non-Selmer horns, but they aren't very well known outside of the city (that's not to say that these guys don't have monster amounts of talent-many of them could challenge the bigger name players out there any day).
 

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Discussion Starter #8
It's 8 am in Germany now.
Thanks for your answers.
I know the players who used the Super 20 in the past. But actually I'm interested in the young pros. They don't have to be well known (in the whole world). There are a few in Germany as well prefering Kings or Conns, but ,´most of the use Selmer.
@DR G: You are right. I Think there was nothing quite like in Europe. Since there was no Ebay.... I think the first US horns came with either with the first musicians touring through Europe or with a soldier during WWII.
Maybe some emigrants shiped a few horns to europe.
 

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In Holland there is a terrific player, Maarten Ornstein, who plays a S20. Apart from being the best Eddie Harris emulator I've ever heard, he has a very own voice and style. He can be heard on several albums of the Challange label.
 

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I saw a photo clip on a jazz show of a very, very young John Contrane with a S20. I couldn't believe it, but there's no mistaking the neck on the 20.
 

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I believe Andrew Love of the Memhis Horns plays a King.
 

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Jim Horn has played his Super 20 tenor on some greats, which I can't remember.

The guy from Edgar Winter's White Trash, who looks just like me, played one.

I play one!

Fact is that they are getting rarer by the day. I get more and more compliments on my Super 20 as the years go by. I never see anyone else with one.
 

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Discussion Starter #13 (Edited)
Hi!
I'm playing one, too. But the question still is why don't more musicians play it? Or why do they change (like young coltrane or sonny)?
I think its a grat horn. But as I am a professional sax and clarinet teacher I sometimes have problems playing it during lessons. Fot that purpose my Mark VI was the better solution.
Here's a pic of mine!
Ciao!
 

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What seems to have happened is that Selmer introduced the Mark VI with both excellent marketing and excellent distribution. It was also an excellent product with improved keywork. American manufacturers weren't able to compete in terms of production and price and Selmer triumphed. The VHS versus Beta analogy probably works here. Nowadays there are nowhere near as many Super 20s as Mark VIs and they're legend is only now starting to catch up. In time it may well be that S20s exceed Mk6s in terms of price and desirability because the world is a funny place when it comes to placing value on things.
 

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I think you don't see a lot of younger guys today playing Super 20s because of the "hype" of Selmer Mark VIs. I'm not, by any means, saying that the Mark VI is not a great horn because you don't get a great reputation for nothing. But I do think that there is too much hype when it comes to the VI. A lot of younger guys hear so much about the VI that they really don't look into any other horns by other brands, which is a shame-especially in the vintage market where you have a LOT of great, high quality horns to choose from. A good horn, of course, is a personal thing, and just because a Mark VI was the horn of choice for somebody like Dexter Gordon doesn't mean that it will be the best horn for you. Maybe a Buescher Aritocrat, Conn 10M, Martin, or a Super 20 will end up being better for you. I would never give up my Super 20 for anything, but I wouldn't tell a young sax player "A super 20 is the best horn-you should get one" because that might not be the best horn for them. I think too many young cats today just look at Selmer and that's it and never really consider what else is out there.
 

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Jaybird said:
I think too many young cats today just look at Selmer and that's it and never really consider what else is out there.

Well, Jaybird, I hope they continue to do so: the more S20's there will be left for me :D !
 

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Proffessional Super 20 Players

Georgie Auld played a Super 20 and sounded great on it. The Super is a great jazz horn. I play a 1965 Silversonic Tenor with a Runyon Quantum (delrin) mouthpiece opened up to a 14 by Mojo Bari, Eddie Daniels ll ligature and #3 Vandoren ZZ reeds.......big clear sound with edge. The 20 is in a class by itself.
Best Regards Mactenor
 

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Mactenor said:
Georgie Auld played a Super 20 and sounded great on it. The Super is a great jazz horn. I play a 1965 Silversonic Tenor with a Runyon Quantum (delrin) mouthpiece opened up to a 14 by Mojo Bari, Eddie Daniels ll ligature and #3 Vandoren ZZ reeds.......big clear sound with edge. The 20 is in a class by itself.
Best Regards Mactenor
A 14!! Do you play with Spinal Tap?
 
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