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Discussion Starter #1
Hi all,
I am looking at buying one of these 2 mouthpieces and was hoping people could comment on the playing characteristics. Alot of my playing is in big bands and theatre pits, so I need a piece suitable to those environments. Something not too bright and the blends well. My main piece is a Floridated Link by Morgan Fry and I dable with a an old Soloist.
I've heard sound recordings of the Hollywood, but have yet to find any for the Sakashama.
Any and all information is appreciated.
 

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I play in similar ensembles and found the Hollywood too bright - on my horns (Serie III and Ref 36), in my face. The Jazz was a better fit. I'm hoping to try Phil's new "Super New York" soon.

It's useful to compare your experiences with other "known" 'pieces. Where do you hope the new 'piece to fit regarding the palette of the "Floridated Link" and the Soloist?
 

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Discussion Starter #3
I can't speak specifally to the Soloist as it is new to me and I have been experimenting with reeds to find the optimal set-up. I'm looking for a mouthpiece that will be brighter then my Link, but still blend in an ensemble setting.
 

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You may be on the right track then.

Have you considered giving Phil a call?
 

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Discussion Starter #5
I've talked to Phil in the past about a Hollywood. Perhaps I should contact him again. I'm also looking for info on the Sakshama Custom Z, people playings these pieces seem to be few and far between though.
 

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Discussion Starter #6
Well, I emailed Phil hoping to get his thoughts on the Hollywood in a big band setting. I also asked him if he thought the Jazz might work.
His response:
"I honestly don't know."

Hopefully others can chime in.
 

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The Z is somewhat bright. I dont belive it is darker than the Hollywood. I do have to say I am going from memory as I have not owned the two simultaneously. Its not harsh, just a different overall presentation. At least for me I find that the Barone pieces have more grit to their sound than other pieces. This is not a bad thing, just different.
 

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The horn you're playing is an important element, as Dr G mentions the Hollywood was too bright, but the Series 3 Selmer is a bright horn. What horn are you using?
I have a Barone Jazz, and it's exactly as Phil B describes on his website "rich, fat, and lush but husky sounding..." it has a Link type sound, and it's loud, and as Sigmund451 says, the sound does have a grit to it, I personally find Links (I play a Florida and an EB) to produce a cleaner sound.

A piece you could try is a Yanagisawa metal. Here's the description and review notes from sax.co.uk :-
"For me, this is one of the best metal mouthpieces. It delivers all the qualities that you'd expect from a metal mouthpiece, such as power, projection and brightness in sound, but what impressed me was the smoothness in tone. This is a rare feature in metal mouthpieces as they can so often sound "edgy", or without body. With the Yani the tone has lots of body to it, and a nice soft undertone, making it great for ensemble playing, such as big band work. - Jim, sax.co.uk.
Played with its own ligature which I was pleasantly surprised with. This is a very well-finished mouthpiece which looks the business in a silver-plate finish over solid brass. Gave very good control, clear tone, secure intonation. Tonguing was effortless and response was very good. For a metal the sound was very warm and full sounding, not at all edgy. I played this with 3.5 Rico Royal reeds and it was very easy to blow even with quite a hard reed. This isn't one for the power crazy out there but if you want a classy metal mouthpiece then this is well worth getting hold of.


I have one that I bought from a SOTW member last year, and was thinking of selling it, but I gave it a play the other day and it's really great, and given the price of new ones versus what I was going to sell it for, I've decided to keep it, there might be a situation in the future where it'll be exactly what I need.

I hope this helps. Good luck.
 

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Well, I emailed Phil hoping to get his thoughts on the Hollywood in a big band setting. I also asked him if he thought the Jazz might work.
His response:
"I honestly don't know."

Hopefully others can chime in.
I tried to play my Barone Jazz 7* in big band last nite on tenor. For Glenn Miller, I could get a very sweet, creamy sound for softer, heavy-vibrato passages. However, for high-energy stuff, and especially a funk number we did, where I got a solo, the Jazz didn't cut quite enough IMO, at least with no mic. I play my RPC with a baffle for big band, a JJ DV for R&B/party bands, and I use the Phil's Jazz for combo work.
 

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The horn you're playing is an important element, as Dr G mentions the Hollywood was too bright, but the Series 3 Selmer is a bright horn.
You'll note that I commented in the same sentence that I found the Hollywood bright on both my Serie III and Ref 36...

Still waiting to hear more regarding the Barone "Super New York"...

Phil? Where are you? Working instead of posting???
 

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Honestly I don't know what to say. The Hollywood is not a bright mouthpiece as bright mouthpieces go. I have to talk to the person on the phone, not in an email. I ask questions and based on what they tell me I can determine if a mouthpiece is right for them or not. I can make a Jazz model sound plenty bright. That's because I played bari most of my life so when I play tenor I over blow so even a rubber Link is plenty bright. Just listen to early Brecker, he played Links and never played more than a 6. That's because closed pieces are brighter than open pieces. In the right hands a Hollywood will scream.

Now if I understand correctly, Sakashama makes copies of mouthpieces you can't get anymore. Well, if I knew what kind of piece the Custom Z was emulating I would be able to tell you if the Hollywood was brighter or not. But this is not a good way to purchase a mouthpiece. The OP should call me on the telephone and talk to me. And quite honestly, when I'm faced with situations like this I tend to believe that the guy isn't serious. Asking people on SOTW instead of calling me? He may be flirting with the idea of buying a mouthpiece but he's not ready to buy anything. Phil Barone
 

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Discussion Starter #12
The Custom Z is a replica of the Zimberoff. I asked on SOTW as I wanted to get mutiple perspectives on the 2 pieces in questions.
As far as buying goes, I decided to go with the Barone and picked up a Hollywood and a Jazz off the market place. Gonna play both for awhile and see which one fits me best.
I would have called as opposed to email but I'm not around phone alot of the day (teaching middle school and high school band.
I do apprecitate Phil's work and customer service. I know he's been in contact with a couple of my sr. students, one who bought a Jazz and is off at University an another who is looking to purchase one of his tenors.
 

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I able to test a floridated link and my barone hollywood a while ago. You can see the videos on my youtube channel. http://www.youtube.com/user/DrSax60 . I´m still using the barone. It´s very variable in sound. The link was def. brighter.
You're getting a great, smooth sound out of that Hollywood! I got the same kind of sound out of it. You'd think with the pseudo-baffle, it would play edgier than the jazz, but I find the reverse is true. I'm still working with it.
 

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Discussion Starter #15
Thanks Dr. Sax! Seeing those videos gives me an idea of what I'm in for. I can't wait for the piecs to arrive!!
 

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Discussion Starter #16
Hey Dr. Sax and SaxGuy, do either of you use your Hollywood in big band?
 

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Hey Dr. Sax and SaxGuy, do either of you use your Hollywood in big band?
OK, I had a chance to play both my Hollywood 8 and Jazz 7* pieces on my PB MAC 8 (Vintage) and Cannonball stone tenors this afternoon. After further reflection, here are my revised thoughts-

1) Both the Jazz and the Hollywood models will give you enough volume for Big Band section work, and will sound great
2) Both models will also give enough volume for unmiked solos, PROVIDED (by some miracle) that the band actually has a clue, and other wind players and the drummer back off to mp on the background licks (regardless of what dynamic is indicated in the music).
3) In a typical big band (or high school jazz band), however, where other winds play their long tones mf or louder on autopilot during sax solos, only the Jazz will be loud enough, provided you happen to be using a neck that adds punch.

I use a neck system that lets me swap out the leading portion (called an "initiator"- where the cork goes). Once I swapped out a smooth, straight-ahead sounding initator for a different one that I keep when I need extra punch, the jazz was plenty loud, and may end up replacing my RPC as go-to big-band piece.

Obviously, some players use a one-piece-fits-all tactic with a more flexible mouthpiece and changes in embouchure and airstream, which is great. I however, swap in different pieces that each nail the sound I'm looking for, for a specific context, that lets my keep MY embouchure constant. When I play a the Hollywood, the maturity of its tone and response, frankly makes me want to do the introspective, pensive, and cerebral spiraling like Dr. Sax did in his YouTube, it doesn't instinctively make me want to wail balls-out. However, YMMV, and I know Stormott77 has played a lot of rack with his Hollywood.

Hope this helps, and doesn't confuse you further!
 

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I play a hollywood 7*
play it for Salsa, Latin Jazz, straight ahead jazz, big band. It is a very flexible mouthpiece.
I play on a mark vi tenor in case you need to know.

As Mr. Barone said above, give him a call if you are really interested.
 

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For me the hollywood is my preferred mpc for big band and smaller jazz setups. Sometimes in a well miked setup I also use it for rock and funk.
 

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Discussion Starter #20
I play a hollywood 7*
play it for Salsa, Latin Jazz, straight ahead jazz, big band. It is a very flexible mouthpiece.
I play on a mark vi tenor in case you need to know.

As Mr. Barone said above, give him a call if you are really interested.
Thanks andre. I've already purchases a Jazz and a Hollywood.
 
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