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Does anyone happen to know what it is? Further, has he used the same tenor throughout his career? I'm wondering since I've come across several early to mid-1960's examples of the tenor that just had an exceptionally responsive altissimo register. I'm not saying that these tenors made me do anything that I couldn't do on any decent tenor, but they most certainly made the job noticeably easier up high. I'm wondering if Mr. Pickett, or anyone else here, has noticed the same thing.
 

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It's 18x,xxx if I recall correctly. I think it is the same tenor he's always played, but I think he had it had it goldplated at one point.
 

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That puts it around 1971. Haven't played enough of them in that range yet to form an opinion. The fact that he's stuck with that horn is pretty telling though. My favorite vintage Selmers are the ones that just pop up high. Intonation gets a little dodgy down low, but everything can be voiced into tune. Probably some kind of acoustic trade-off.
 

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I think he can play up high on any horn, but I've heard from someone that knows him (and used to play in TOP) that his horn is indeed a 1971 VI. I've got a copy of his altissimo fingering chart if you want to check it out.
 

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It’s a 442, possibly even 444, horn too.......
There’s a video on YouTube of him discussing his setup
 

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It’s a 442, possibly even 444, horn too.......
What's that? A 1971 VI would be in the 180,xxx range, would it not?

But I'm sure he could play altissimo on any good tenor.
 

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I think he can play up high on any horn, but I've heard from someone that knows him (and used to play in TOP) that his horn is indeed a 1971 VI. I've got a copy of his altissimo fingering chart if you want to check it out.
I would actually be very interested in seeing that chart! Is it based on the Bert Wilson fingerings?
 

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There's obviously much better players on this forum than I at a lot of things but I take my altissimo pretty seriously. I have noticed that for me the later VI's have responded better in the extremes of the altissimo range. Like going for C5 and up. Crazy altissimo is like the one thing I do really well. And it's hard not to milk it.

Right now on a few of my reeds I can get a double F. But for me the mouthpiece/ reed set up is more of a factor than the horn. You're almost bypassing the horn once you start locking in and sliding your embouchure to get those notes. I have chromatic fingerings for every note up to G4 but after that it's only 2 or 3 (based on lower altissimo notes) and hearing it in context. That helps a lot. Pulling altissimo notes out of thin air up there is wicked hard. When you have a band behind you you can jive a little more.

My good friend (much better player than I am by a long shot) who hooked me up with my 61 Yamaha was surprised that as soon as I played it I was able to get those notes to pop out right away and I told him that it was more about the feeling blowing into the mouthpiece than the horn once you get up there.

Lenny of course uses a very extreme set up Hard Bass Clarinet reeds with a 130/0 Vintage Berg Larsen. Harder reeds do help up there. It's no secret. But I don't have the chops to play the rest of the horn with anything more extreme than what I already use.

A couple of years ago I did a demo of the Lenny Pickett Slide where you go past the realm of human hearing. I should do another one.
 

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I would actually be very interested in seeing that chart! Is it based on the Bert Wilson fingerings?
He uses a lot of long fingerings (overtone fingerings) from Bb4 and up.

I have some of his charts too. I'll have to dig them out.

Sent from my SM-N950U using Tapatalk
 

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Just watched the 1st video. Yes, late MKVI with a top F#. Just imagine how much better he would sound on a proper '5 digit' MKVI without a pesky F# key.........
 

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A=444......
Was Selmer making A=444Hz horns in the ‘70s? Or any other recent time?

Buffet, yes, but I don’t recall hearing of Selmer doing that.

Could you please link the video to which you refer?
 

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Was Selmer making A=444Hz horns in the ‘70s? Or any other recent time?

Buffet, yes, but I don’t recall hearing of Selmer doing that.

Could you please link the video to which you refer?
I’m trying to find it, he definitely said it wasn’t 440 though. Ever noticed how far out his mouthpiece sits?
 

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Was Selmer making A=444Hz horns in the ‘70s? Or any other recent time?

Buffet, yes, but I don’t recall hearing of Selmer doing that.

Could you please link the video to which you refer?
I would also be amazed to have proof that Selmer made such a sax. It seems highly unlikely.
 

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I’m trying to find it, he definitely said it wasn’t 440 though. Ever noticed how far out his mouthpiece sits?
If one compensates for a A=444Hz body by adjusting the location of the mouthpiece, then the rest of the horn is out of tune with itself.
 

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I love the logic here- ‘I haven’t heard of this therefore it must be untrue.....’
To be honest, and with much respect. You are the one putting forward the unlikely theory.

The internet is full of, and this site has its share of, false info.

I think the onus is on you to back it up with some genuine proof, that Selmer made mark sixes with different pitch than the norm/standard.
 

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From an old Windplayer magazine that I still have- Lenny Pickett plays a Paris Selmer Mark Vi tenor made in 1969 or 1970. It was a gift from Jerry Martini , who used to play sax with Sly and the Family Stone.Mouthpiece is a Stainless Steel Berg 130/0 .
 

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To be honest, and with much respect. You are the one putting forward the unlikely theory.

The internet is full of, and this site has its share of, false info.

I think the onus is on you to back it up with some genuine proof, that Selmer made mark sixes with different pitch than the norm/standard.
Agreed.
 
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