Getting a great tone that makes strong men weep is like slicing butter with a hot knife. That said, I will also attest that everything you’ve heard about Selmer Paris saxophones is true. (Yes that still rules out a lot of horns.) But I did think it was worth explaining to critics that, while I know what a difference a pro horn can make to your sound, I also know that you can learn to play, and play well on any well-made, playable horn with decent intonation. In fact I “cut my (improvisational) teeth” on an intermediate horn - a Buescher-designed Selmer Signet tenor that still sounds great and meets most of my gigging needs. Was I a better sax player when I played it? Of course not. Or who list the horns they own as a kind of “credential” to validate their playing, as though spending the value of a good used car on a horn automatically makes you a better player.ĭid I sound better on this horn the few times I played it? Of course. Most of the other horns I’ve listed are student model or intermediate horns, and there are certain folks who judge your value as a sax player based entirely on the brand of horn you brought to your most recent gig. I’m not going to say much about this one, except that one belonged to me at one time. Horns in my Life: 1970s Selmer Mark VII Alto
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