Why the Selmer Mark VI is NOT the Best Saxophone in the World

[@stevananastasoff7892]

My dad got his tenor Mark VI back in the 60s, when he was still a teenager. When he was drafted during the Vietnam war, his sax playing earned him a place in the army band - the only one out of over 200 recruits that he went through basic training with not to end up in the infantry. It's very possible that instrument saved his life! I grew up to the sound of his sax, listening to it as a child, and then as I got older and developed my own piano skills playing together with him. I remember one time the great Stan Getz was playing a gig in town, but he'd become separated from his sax on the in-coming flight (that's a whole other story in itself!). With Getz needing a quality horn at short notice, and knowing my dad, the organiser of the venue called up to arrange a loan. I remember very clearly my dad excitedly rushing out, "Stan Getz needs to borrow my sax!". He passed away 10 years ago, but we still keep his sax. There is no more beautiful instrument.

[@bettersax]

Great story thanks for sharing.

[@SteveEcksteinDouglasDrive]

BERG LARSEN METAL OR EBONITE WITH RICCO ROYAL< ATTACHED TO A " BALAANCED ACTION= THE SEARCH FOR THE " HOLY GRAIL" OF TENOR SAX SOUNDS"(TAKING PAUL DESMOND

[@derekakien7379]

@@SteveEcksteinDouglasDrive Early Bergs 50s 60s made in London great blowers. Hard rock to cool jazz, so versatile.

[@Johna41223]

Please make sure that sax gets passed down through the generations :)

[@Johna41223]

@@SteveEcksteinDouglasDrive what is going on with this comment…

[@Craig2760]

The best sax in the world is the one that calls to you for it to be taken out of the case and played.

[@davidgrant6263]

I love my Eastman 52nd St.

[@monroec.hatcherjr.8233]

Yes that pretty much nails it.

[@SH1974]

Mine don't calls from inside the case. No pets, no children, so it stands in it's stand. (under a self-sewn dust cover, made of finest Silk) EDIT: meanwhile, my Sax calls from inside a self made "music-Furniture" to see in my channel.

[@think2023]

And....funny thing...the more you practice...the more it calls!

[@KingofDundee]

Everybody thinks that their sax is the best in the world. They're wrong, my sax is the best in the world.

[@joer3481]

Mine too.:-)

[@kishiberohan7955]

Like you said, my sax is the best

[@piesmuggler7268]

My sax is the worst in the world

[@joer3481]

My 1958 Martin Indiana alto is the bestest...:-)

[@joseyanez8809]

😂

[@molly007able]

Just for your information Jay , Dexters pink markVI tenor, plays extremely well and in tune after the overhaul by Peter Jessen.

[@bettersax]

Preben, thanks for letting me know. I really wanted to try that horn but you bought it too fast! Peter does masterful work. I told Martin you got a bargain.

[@gcrav]

It's still a goddamn pink saxophone!

[@Panda-ej5sq]

You’re one lucky man! I’ve been hunting pink .. gonna have to go rose gold now.... enjoy!!

[@KeithTaylorPhoto]

Better Sax: I’m curious as to why you didn’t ask him if he was okay with you playing it. Would it have been considered rude or in bad taste to have asked, provided you used your own mouthpiece and reed? Although, I do get it being one of Dexter Gordon’s former saxes and would imagine he paid - a lot - for it. So, I might be afraid to touch it out of fear of damaging it in some way. Dexter Gordon is one of my favorite sax players. The thought of having the money to buy and own the Conn 10m he played prior to switching Mark VI’s. What a dream that would be.

[@abrahamgamboa]

Did Dexter play it out of tune before the Jessen overhaul???

[@dougsmith7616]

Best sax (in the world)= the one you got right now.

[@MyInsanityPersonafiedlol]

Dude, I’m on a selmer student Bari. (Which plays great) but the rest of my setup is terrible. I’m playing on a yanigasawa neck which doesn’t fit on the horn, a crappy neck strap, moldy reeds that I can’t change because they’re so expensive, and a HEAVILY used Yamaha 5c

[@ThinkingSpeck]

"Don't get caught up in the gear - get something good, something solid, and then just concentrate on practising" Great advice for a lot of things - I first learned it for photography.

[@HonestSaxSound-unEdited-]

@LazerDog Laz man, please... may be the man speaks another mother language, like me... Important is the concept because is true. Regards.

[@ForvoQuizlet]

And yet here we are : )

[@mrtyreus0]

Exactly get something that works well, and if you spend enough time playing it, it'll be the best in the world to you. It's all about the journey and the relationship.

[@rayphillips5578]

Very wise words

[@richardcowley7346]

i bought a CAT D8H with a 68A powershift transmission, played really well push loading CAT 657G motorscrapers !

[@abaachi13]

In the early 80's I was in the market for a Selmer Mk VI Tenor. It was the horn that I dreamed about owning for the longest time. When I finally got the money together to buy one; I ended up purchasing a King Super 20. I still own that horn, and I haven't regretted my decision.

[@Ambaryerno]

TBH, I think the Kings are just about as overrated and overpriced as the Mark VI.

[@pmwizard48]

I bought my King Super 20 in 1978. It plays well with a great tone.

[@SuperJemser]

@@pmwizard48 I was gifted a circa 1943 King Super 20 in 1970. According to a repair expert, I have a collectors piece of equipment, engravings on the pad covers, with mother of pearl on many of the keys. with the silver neck, and it plays today (2022) as good as the day I got it.

[@pmwizard48]

That’s how I feel about my King. Great instrument and sounds.

[@martygillespie5486]

I owned a King Super 20 Silver Sonic, and a Mark VI Tenor. As my son was coming up and needed a tenor, I gave him the Mark VI. The ergonomics are better on the Selmer, but the fat tone of the King was something I wasn’t willing to give up.

[@BobbyBsax]

My dad gave me his 1964 Mark VI alto, so it has greater value to me. He played in a band for many years with mom on the cordovox. I love the sound he used to get out of it, and I think of him every time I play it. I also have his Selmer Signet tenor and playing his favorite song "Misty" gets me every time. Thanks for all the great information, Jay.

[@760Piper]

Hi Jay. Words of wisdom to be sure. Not sure why amateurs don't heed the advice of pros like yourself. Get a good, solid reliable horn and then take the rest of the money and take some lessons. Money better spent. Thanks for your honesty about the subject.

[@bettersax]

It's not easy to resist the attraction of saxophone mythology. I've fallen for it in the past myself. It's all about the practice though...

[@MauriatOttolink]

760Piper Cracking advice.. You're my man...

[@stangetz534]

lessons are so important, but one always believes they will have enough for the new selmer and the lessons with chris potter.

[@StoneysWorkshop]

our old band director would say “sometimes it’s the screw behind the mouthpiece” haha :) Just bought a 50s-60s era buescher , was a public school horn, it is beat to heck. Saturday I played a 3 hour gig on it in the condition I got it (well I adjusted a g# leak ) Fun horn and sounds great!

[@derekakien7379]

Great horns.

[@mahlonkapule7304]

I play on a buescher as well they are fantastic

[@johnhaikin4598]

I've got a '25 True Tone and a '36 Aristocrat, boyh tenors, and they are winners!

[@ferruccioveglio8090]

Yes, sometimes it's the screw: 0.2 mm and your reed wouldn't work properly 😕

[@vncstudio]

I have a 39 Aristocrat alto. Sounds rich and full bodied with the right mouthpiece and reed.

[@silver10m10]

Best piece of advice I ever got from the late great Ernie Sola ....an east coast repairman in regard to a horn I was playing at the time...."That horn will never stop you from being great". In other words...it's the player.

[@bettersax]

I love that...

[@martinbjureksvanstrom1612]

But what horn did you play? Selmer mark vi ?!?! ;-)

[@silver10m10]

@@martinbjureksvanstrom1612 Conn 10M. To prove it wasn't the horn Ernie had me pick up his Selmer VI with his 6* Supertone master with the reed he had been using. My sound wasn't 1/2 of his. Same deal on my Conn10M ...we couldn't have sounded more different on the same horns / mouthpieces

[@martinbjureksvanstrom1612]

​@@silver10m10 I see. Good lesson! Totally agree that maybe more than 95 % of the sound comes from the player (as long as it is a fully functional horn, of course). Especially after some time playing on the horn. BUT I also think there actually are 5 %-sound, coming from the horn. And it's important to find a horn that suits your needs. But... of course even more important to find a good mouthpiece/reed setup. BUT, most important... PRACTICE... OK, back to square one!

[@silver10m10]

@@martinbjureksvanstrom1612 Mouthpieces and necks can make you more crazy than horns...been there too !

[@marcdeckard7064]

As a newbie player, I bought two sopranos , altos, and tenors so I could kind of see if my problems were me or the saxophones. Also for spare parts. I found that saxophones are extremely variable. The acoustics and resonances are unique to each horn. They are almost organic machines.

[@sansocie]

Correct. VI are instruments that NEED to beome part of you. A Yamaha plays with less effort and better intune out of the box. But the sound. Have two necks with my VI made in 1956. One sounds better for Jazz than the other. 25 years as a sax tech also. Play in the key work ? Fix it. Rebuilding is a level about sticking pads and corks on. Bought my VI used for $375.00 in the 70's. Enjoy playing.

[@ralfbettker-cuza7432]

I got my Yamaha YTS 62 about 25 years ago. Back then I was a teenager and there were these very expensive and "cool" Selmer tenors and the "well better than nothing" Yamahas. The Selmers were to expensive, so I went for the Yamaha (my Grandma paid for it and I didn't want to make her poor). I wasn't cool, but I had a sax. Picking up my tenor after about 20 yrs. of pause, I suddenly realised that these Purple Yamaha YTS 62 are now considered to be one of the finest ever made. It's almost all image and marketing. The decisive factor is on the other end of the mouthpiece. Ahhh, mouthpieces, a whole different story. I only have one. And I always use the same reed brand and number as well ...

[@bettersax]

Ralf, you're exactly right. Don't fall for the marketing and image. Yamaha horns are great. Mechanically superior to the Selmers. The sound comes from the player 99%

[@someoneelse1534]

I thought at the time the I payed too much for my 62 but I don't think I'll ever want a different tenor

[@dissco.partysan3333]

@@bettersax I have a Selmer alto SA II and i wouldnt change it for any of the Yamahas. Many players envy me for this sax. I didnt realise that a Yamaha is mechanically superior.My friend has a Yamaha and he is missing some small key features that Selmer has.

[@757panorama]

I love my YTS-875 EX. Just the best.

[@sprucefan4379]

You did it the right way. Going on an endless gear hunt is a colossal waste of time.

[@robertdoom8331]

Sir, you're a great soul, always with sage advice for those youngsters starting out and oldsters coming back to the art of playing. Thank you for so unselfishly "giving back" to the saxophone playing community and working hard to keep this craft of playing and technology alive. I've been a continuous player and performer since '66 and your videos always bring a nod and smile. For over 50 years for me, women have come and gone; and the world has often gone to "hell in a hand basket", but a good playing sax has always been there. Play to stay young and stay young to play!

[@terryhorlick679]

Back in ‘69 I bought my brand new Mk VI alto for $450. It took years of effort to get my parents to go along with that as they saw nothing wrong with Mom’s Martin she got used in the ‘30’s. I still play that Selmer almost daily and have lovingly cared for it for 53 years. It is still a dent free almost 100% lacquer horn which looks almost new and plays like new. The bell got slightly rotated on the body when the stage collapsed under our big band 30 years ago and last year 2 original pads were replaced. It still plays beautifully. Mk VI the best in the world? I don’t care, it’s the best for me. I hope I can get in another 20 years with this horn and that it will then find it’s way to a serious young player second owner who will treasure it as I do. P.s. in our home emergency evacuation list the alto is the second thing I take, right after my wife!

[@romeoperrin7524]

Fantastic!!

[@ferruccioveglio8090]

What about the Martin?

[@AFFLYMedic]

Great video, I got my Mark VI Alto when I was 15, after my music director told my parents I was gifted and needed the best. This was the early 90s and my parents paid over $4K. I still have it and it took me well into my 20s after playing in the military and professionally for a bit. My military career took a turn and I gave it up. Now that I’m retired I’m looking forward to getting back into it.

[@Joe-ym6nx]

I have a YTS62. It was my first ever professional model horn my dad purchased for me. I love this horn. I grew up as a player on this horn. I completely overhauled the horn this year and it's been a new world for me with my sound and ease of play. I had alot of leakes and bent keys. However now I am looking into a Julius Keilwirth SX90R. I really like it's sound in the altissimo range and from what I hear it's very easy to play/it gets out of the way for you. I have to fight my horn in the upper register a little and I do have trouble getting specific altissimo notes out, staying in tune on high C and altimsiso can go south quick. Hard to get altissimo notes to growl too. I have a special place in my heart for my Yamaha however. I have so many hours into it. I would consider myself an intermediate to professional player. It's all about the fundamentals and practice for the first 10-15years. However sometimes I think we need to try new horns and mouthpieces to see how a horn can respond to you. I recently upgraded to a Jody jazz 7* and that has been a game changer for my sound.

[@corvandermey4172]

I have a Yanagisawa tenor for 15 years and it plays great. Good sounds, very solid, never had any problem. If I had to buy a new one today I certainly will buy a new Yanagisawa !

[@fluteluc1]

A theory: I find that certain vintage saxophones, such as a very good Mk6, Selmer SBA or Conns of a certain era respond in a way that makes you understand how to play saxophone, it shows you the way if you will. Once you've played these for awhile, you can then play at your best on any horn. And since today's horns have a much more consistent pitch, it is normal to find them better. My experience: I've recently acquired an SBA alto sax one of those 'magic' horns full of soul. I want to play it all the time. I now find my playing on all other horns has improved noticeably.

[@noahshupenko]

I don’t disagree. I just bought a 1961 con 6M alto last summer with the money from my first summer job. The thing plays like no other and I’ve feel like I’ve become a better player over the past four months since I’ve owned the thing. My embouchure has become better, my airstream is more efficient, everything is somewhat better. There’s just something about the sound and the feel of the instrument, I can’t explain it.

[@paulcohn5732]

I play my original MarkVI that I believe my dad purchased new for me in 1963. I had been hardly playing it for over 40 years. Now I am much more active playing and performing and I believe I do have a gem.

[@bettersax]

When you have a horn that long it is definitely special and worth playing!

[@erikbrand6682]

i have my uncle’s mark VI, it is one of the most beautiful saxophones ive ever had the joy of playing

[@bassbombdom]

I got my first ever sax today, a nice little Jupiter 500 Series and I feel like this is a really nice sax. I've never played a saxophone in my life until today and I know nothing, but I feel I have that little connection with my sax already. I look forward to watching and learning from more of your videos over the next few weeks, months, and maybe even years! Thanks buddy!

[@liammathus]

Update?

[@derek_williams]

I've had my Mk6 for 30 years - it's a 1960 model. I love the creamy layered breathy sound. I suppose I could find something cheaper and maybe better, but few listeners will notice so I can't be bothered to change. Like with other hobbies (photography...) a lot of amateurs spend tons of money on equipment - because for them it's easier than practicing to get better.

[@justicer5]

This is probably the best and most honest commentary I have seen. Thank You for your honesty in demystifying the glamour and hype of the Mark 6. When I first jumped into the saxophone world the first thing I was told was “”man, you have to get a Mark 6!” We’ll I have not purchased one yet and probably never will. I have a Keilworth Tenor sax (black & gold) with rolled tone holes that plays incredibly sweet and brings me joy and contentment. THANKS AGAIN! Great review!!!

[@Sam-hf8nq]

In college I traded up from a Yamaha student model to a Mark VI s/n 67,000 battle axe and never looked back. Somewhere along the way I had a guy repair it who really knew how to tweak old Mark VI's and the horn gained so much more projection and volume. It was as if he unlocked some overtones that were missing. The horn is a beast!

[@ZappRoyce]

My mark Vl balanced action tenor took me half way around the world , but it was my hand built gold plated Martin alto which got me a £20 tip from Sade when she walked past me in Cheltenham when I was busking playing smooth operator.

[@FlorencioCruz]

love the video jay...Honestly I am in love with my Mark VI, to the point that in the last 7 years I could not play any other saxophone,...I don't want to sound too naive but I believe there is also a mysticism behind instruments, is not only about the mechanics and materials....there is a soul living in the thing..:))))

[@davethomasson6571]

I completely agree. Back in the early 80s, I sold a BA tenor and my MK VII alto and bought Buffet Prestige tenor and alto. They are copper horns that were made in the Keilwerth factory. After about 15 years or so. I sold those horns and went on a buying-selling rampage for the next 15 years. I had everything from Keilwerth to B&S to Buffet Super Dynactions to SML to Borgani to Japan, China, Taiwan, and Vietnam. I eventually came across a 133xxx VI alto at a great price and a 105xxx VI tenor at an even better price. My soul was restored. These horns may not be perfectly in tune but the core tone of these VIs are pure gold. My search is over and no perfect Yani or Yama will compete with the soul of my VIs.

[@HonestSaxSound-unEdited-]

@@davethomasson6571 i agree totally..

[@dasteufelhund]

My Martin Committee plays perfectly in-tuned. Glorious and luscious sound too. Thank you for the review!

[@JasonZedlitz]

I agree 100%. I started playing on a conn shooting star “mexiconn” it was held together with rubber bands for springs and I had to use a paper clip to help the neck. I learned a lot on that Sax. My repair tech at the time told me it would cost more than the horn was worth to repair so I kept playing it for a year. I then saved enough to buy an Armstrong and it was amazing. Going from a conn to that was a huge difference. I’ve owned a ton of different saxes since spent ungodly amounts on mouth pieces. I will say anything can play great as long as you put in the time to make it sound great. I now have a P Mauriat System 76 soprano, a series 2 Selmer alto, believe it or not I still have a conn shooting star tenor because I love the way it plays, I may or may not upgrade. The audience doesn’t know the difference. My tenor just looks a little more beat up. Been playing 20 years now and it’s not the horn that makes the player. It’s the attitude.

[@ScottRutledge]

Jason, wow, our stories are so similar! I started playing in 5th grade for band, and my parents bought me a highly used Conn "Shooting Star" "mexi-conn" also - an alto though. That horn was beat up, scratched to high heaven all over the bell and bow and tube, with some major dings and dents in it on the bow... but MAN, that horn could play! All the other kids had nice shiny rental horns from the local music store, while I played this beat up old thing. Hahaha. But I, too, learned a heckuva lot on that horn, and I must say, that horn played great! I played it throughout high school and college (couldn't afford a better horn, and what the heck, it still played). I played the "school" owned horns for concert band (Mark VI bari) and jazz band (a Mark VII tenor, which I loved!) during high school. I agree with you also on both your and Jay's statement: Anything can play great as long as you put in the time and practice to make it sound great. Nobody ever made fun of me because of my beat up Conn in high school and college, because I could play. There've been a lot of saxes in my locker between then and now also, but I now own 2 altos (Selmer Super Action 80 Series II, and SML Gold Medal I which is my go to), 2 tenors (also a Super Action 80 Series II (my go to) and a SML Gold Medal I), 2 baris (Conn 12M "Naked Lady" and a Martin "The Committee"), and 1 soprano (Super Action 80 Series II). I only sold my Conn Shooting Stars alto about 10 years ago, to my Korean sushi chef locally here, who had told me he used to play sax and loved it, but no longer had a horn... I've owned 2 Mark VI's myself - an alto and a tenor - which I sold during the dot.com bubble burst recession about 15 years ago when I needed the money. Don't regret selling that alto - that thing wouldn't play for sizzle, I had 2 different horn guys try to adjust the living daylights out of it and it never played right - super tight, lots of resistance, horrible tone as a result... I even tried "cryo" treatment on it, I was so desperate to have a great Mk VI horn. Still didn't play for beans. 5-digit alto too. Good riddance. The tenor, however, was a beautifully playing horn and I regret selling it although the SML Gold Medal and Series II tenors I now have both play and sound just as good in all honesty.

[@jeffhogan9125]

You speak wisdom. I have always loved my Buffet S-1 and listeners tell me they love it to. I hate playing in a section full of Selmers. They are out of tune in the same way, so they all play out of tune together and think nothing of it. I tell my students the WORSE thing they can do is ask another saxophone player what horn, mouthpiece, reed, ligature they use...even a professional. Find what works for YOU and don't worry about what everyone else uses. Saying every player must use the same equipment is like a physician telling all of his patients they must take the same medication. People are all different. A very sad story: I had worked with a student on his Armstrong student horn from the very beginning. He was playing well, but his student horn just was not up to the task anymore. His mom found a Buffet at a pawn shop and was allowed to take it to a lesson so I could help Robbie decide if this was the horn for him. I listened to Robbie play it, I played it. At the end, I told Robbie's mom, "If you don't buy this horn, I want it." It was a terrific horn! Robbie took it to school with him the next day, walking into the band hall wearing a huge grin on his face, "Mr. Collins, Mr. Collins, I got a new saxophone!" Mr. Collins:" Did you get a Selmer!?" Robbie: "No, I got a Buffet." Mr. Collins' shoulders and face sunk..."oh." Robbie saw Mr. Collins' disappointment and was crushed by the man he wanted most to please. To this day, I think Mr. Collins still has no idea how he crushed a kid unnecessarily. Robbie quit band and quit playing the saxophone after I moved to a different city. He was one of the most talented and excited kids I've ever taught. And I've taught a lot of talented and enthusiastic kids.

[@marioperrett]

When I was in 9th grade about 1979 my saxophone teacher, the great Bobby "Lips" Levine sold me one of his Selmer Mark VI tenor saxophones for $700. It was a late 50's horn and it was a one of those sellers where they got it right. I went on to study at Berklee, my first teacher Bill Pierce always wanted to buy it! It played like a dream. Sadly it was stolen from my apartment in Allston, Ma and to this day every time I see a tenor close to that vintage I eyeball it. Broke my heart because it was a great horn but that saxophone was a direct connection to my 1st mentor. I never quite found another one that played the same way, eventually when I was studying with George Garzone he steered me to Buescher 400's, had a Super 1st and then graduated into owning a 1949 Top Hate & Cane. Moral of the story its not the horn its the practice and recognizing the journey never ends. The reason why you can identify an iconic sax player after one phrase is not the gear it's the individual. My opinion is that playing saxophone should be looked at like singing with a big honking piece of brass. Let that individuality out. I Love this video because it reinforces the adage "Its the player NOT the horn". Thanks you for your video!!

[@bettersax]

Great comment, thanks Mario.

[@ChopinDolphy]

Heyy I go to Berklee, live in Allston, and I studied with George! Bill was the chair of the woodwind department for a while but he is gone, as of this year.

[@johncaito6607]

My home was burglarized in the 80's. They stole my Tenor and Alto. My alto was purchased for me by my mother when I was 12. It was a Bueshcer Aristocrat. Thieves really piss me off! San Jose, California!

[@marioperrett]

John Caito I feel your pain sax brother!

[@joer3481]

All Buescher saxophones will need the right thumb hook replaced....the big bell saxes sound just about the best to my ears...

[@lakemartinsaxman5838]

Glad I watched this video. At 70 yrs old, everything he says rings true. I am NOT a great technical player, but I have good tone, play by ear, and can entertain folks, playing over 100 gigs/yr. I do appreciate a great playing horn, and the technician who knows how to make a horn play great. I bought my Mark VI tenor new in Memphis, Tn., in Jan 1966, ser #125,xxx when I was a senior in high school and playing gigs on weekends. I was playing a Conn bari sax in high school band after starting on a couple of Conn altos. Played every weekend thru college (frat party bands), then the Mark VI mostly sat in closet for 20 yrs 1972-1992 as my career was demanding, no opportunity or time to play. Started playing again in early 1990's. I dropped the Mark VI in about 2003 after a gig in Montgomery, Al. (after pampering it 37 yrs) and the tech (in Birmingham, Al) who repaired it was a great saxophonist and a skllled and experienced tech. After the repair, it played better than it had ever played before. He continued to maintain my horn until he moved to another state and I lost track of him. Twelve yrs later in Nov 2015, I was on the verge of sending it off for complete overhaul and contacted Kessler in Las Vegas. I needed a "back up" horn to play while the Mark VI would be away for overhaul. After talking to Dave Kessler, he guided me to a Kessler Custom Handmade in the nickel-silver alloy. I also went to a Yani 6 metal mp, a good choice. After playing it a week or two, I decided not to spend the $$$$ on overhaul for the Mark VI. I didnt even play it for next 18 months. Eventually I tracked down the same master tech in Pensacola, Fl., and he put the Mark VI back in great playing condition in Aug 2016. But I still preferred the Kessler. Then in Jan 2018, I had the exact same experience as he relates in this video. The Kessler had its first minor leak after 2 yrs of regular use. I picked up the Mark VI and it played so well, I thought, "why am I not playing this horn?" And I played it for the rest of 2018. But in Jan 2019 I got the minor leak corrected on Kessler, and I am back playing it again. I have great sentimental ties to the Mark VI that has been with me for 53 yrs, and I love to play it, But I sound just as good, maybe better, on the Kessler (appx $2300). Had I bought one of the premier brands (and paid 2X to 3X) I probably would have been pleased too, and I would love to own one. I played a gig this past weekend, where another very talented saxophonist had a new Cannonball tenor. It was a beauty of a horn, and he loved it. Lots of great horns today; that was not the case in 1966 when I bought my Mark VI. My soprano and alto saxes are SA80 II's from 1992. No one is going to sound better on a Mark VI than they will on any other fine horn. Every player has "their own sound", created by a variety of factors. I listen to many saxophonists, and can often tell within a couple of measures who the artist is. And it would not matter what brand horn they played.... they just sound like themselves, their signature sound.

[@KrisVComm]

It’s always fun to talk about the different horns. The amount of work and instability in a vintage horn reminds me of owning an old VW...it’s gonna leak oil but you’ll have a blast anyhow. I recently watched a video by Geddy Lee (bassist for Rush) and he just started collecting basses for the first time a few years ago. He brought up an interesting point about used basses and their playability. He mentioned that he can play an old bass and right away tell if it was played often. The instrument just plays easier for some reason. He also bought old basses which were bought and then stuffed under a bed and seldom played. Those basses were difficult even though they were in mint condition and seldom used, although vintage. I think there is something to an instrument somehow changing over time in an intangible way which resonates differently, be it a horn or guitar or keys. Something goes into an instrument over time which makes it sing (provided it was played).

[@heplaysjazza]

In 2000 I bought a new Selmer Serie III tenor “just until I could find a Mk VI that I preferred” Still looking (not very hard). I did buy a more streamlined Serie III neck from Selmer about 10 years ago which did improve the sound, and I have a very gifted repairer who’s kept the horn in great order. Bottom line: I love that horn and can’t wait to play it every day.

[@olebirgerpedersen]

Thank you for this Video. I was thrilled to see you with my old friend Bob Rockwell in my old shop Godtfrid where I used to buy my saxophones . I also had some lessons playing duets with Bob in his studio. I have a Selmer with a wonderful sound but also some of those difficulties you mentiend. Thank you again

[@almostasaxplayer]

Apologies for another long story, but your words ring true, Jay. I've just been flooded with a wealth of information about my primary tenor, a "Whitehall" from "back in the day" as I had been told. My parents bought it for me in 4th grade for $200 when I stuck the entire year out playing alto. I wanted to play tenor more than anything in the world. I played that Whitehall until I graduated HS, and then I was fortunate enough to be able to choose my graduation gift. I chose a $2500 Selmer Super Action 80 over a car, essentially, and headed off to college at U of I. Once at U of I and playing the 80, I quickly realized that my "junker" horn sounded FAR better (to me) and projected a hell of a lot farther during Marching Illini rehearsals. Seeing as how I wanted to keep the 80 nice, as well, I switched back and started playing the Whitehall for MI and kept playing the Selmer for jazz and concert band. Well, the next genre of music to fall to back to the Whitehall was jazz. It just had something that my "professional" horn didn't seem to have. I could voice notes far easier. It just worked with me more rather than against me, which is what I feel like the 80 was doing. It just wanted to play THE NOTE. No grace, no bends, just play a nice, happy note. Well, I'm not a nice (or very good) player to be honest. The Whitehall is just a dirty horn, and I'm just a dirty player. We work well together, it seems, even though it's horribly out of tune and essentially falling apart. Fast forward to about two weeks ago and I didn't graduate from U of I, but I have played that Whitehall for the last 30 years in local bands while my 80 collects dust in a closet. I've almost destroyed the Whitehall several times, but I've always managed to find someone to fix it. Well, the last time that I brought it in to have it repaired, the local tech told me that it was beyond his capability. That spurned me to seek out SaxQuest in Missouri, which is where it's currently being serviced. I brought it to them in a desperate attempt to find out if my horn had finally bit the dust and ended up leaving it there for a complete overhaul. This also increased my curiosity to its lineage, which I believe that I have traced to a 1951 Julius Keilwerth "The New King" Series II tenor, but I think it's a rather early one because of its construction (soldered tone holes and left bell keys). It will probably never be worth the money that I'm putting into it right now but I could not care less, it's completely priceless to me. I had to play the 80 for the first time in over 10 years last weekend. I'm really glad that I have it as a backup right now. Pretty sure I'm going to sell it, though.

[@almostasaxplayer]

By the way, Jay, I've been binging your videos. Thank you. I have a grand total of like 10 subscriptions and you've more than earned it. I know that's a drop in the bucket, but you take the time to read and respond to comments. That's an entirely different level of help. You're a lifesaver for someone like me. I wanted to play professionally until college, and then it became a hobby after about a 10 year inconsistent break from playing. I'm not the greatest player in the world, but at 38 I'm going back and trying to relearn some of my fundamentals. I just got an Aerophone so I can practice and write music in the wee hours of the morning while my fiancee is asleep. I've always described my playing as "my best impression of a saxophonist," but am now working on earning the actual title, at least in my own head.

[@spiketaterman5181]

A lot of what you say makes sense, but I own a Mark VI. Nothing quite has that "centered" sound, fat and rich where each note is it's own world. But I'm sure newer horns blow pretty well--but as long as I own one, I have no plans to sell or replace it.

[@joekidd1103]

I had a Selmer MkVI tenor back in the early 1970's. It was a good sax, but the best at that time, in my opinion, was the King Super 20.

[@thecourthaggis]

Hi Jay, Thanks for the heads up....just started playing Saxophone at the ripe old age of 64, and bought a used Yamaha YAS23, and had it serviced by my friend Marius. Happy with it!

[@joer3481]

The 23's are a fine sax, beginner or otherwise...you may upgrade to a 52 or 62 as time goes on, if you are so inclined.

[@LuisHernández-n4q]

What Jay said at the end is most important. Equipment will not make up for lack of work! Bird played all kinds of horns, even a plastic one, and is the GOAT! My Mark VI is the best horn I’ve ever played, but that doesn’t matter if I don’t practice and play all the time. 🙏🏼

[@sbutler6477]

Jay, I’ve been playin tenor since 1964. I’ve owned many.My favorite is my 1957 selmer VI.It cost me 1000 dollars in 1976. I had it on lay away 10 bucks a week for ever.still use the Otto link metal mouth piece. I treat that horn like a new mother treats an infant.I also can remember practicingmarcel mule scales and arpeggios 16 hours a day in my 20 s.love the mark 6. Maybe I got the chosen ONE. But I can’t spot the guy a mile away that never practiced to the point of not having a life. Scott Butler

[@randyemerzian6089]

You need to own one (Selmer) to understand - I agree!

[@jnmkkmnj]

My uncle Ray played a mark six and it produced the most incredible tenor sound. Show as I headed off to college to major in music and study under Blue lou’s dad, Lou Marini Senior, I bought MK6. I could never get that kind of sound which was big and rich as exhibited by my uncle’s saxophone. I got a sound that was more akin to a Stan Getz sound. My uncle told me that that big old fashion sound was dying out and then I should be happy with the sound I was getting. But I never was. One day after graduating from college and working as a high school band director I took my saxophone to Sherman Mitchell in Flint Michigan and Sherman put a graduated taper on the bottom of the tenon where the neck joined the body of the sax. That really opened up the sound immensely. After 13 years of teaching band my hearing was gone and I moved into teaching technology and mathematics. I had originally paid about $650 for that tractor barn and I sold it for $800 to a student of mine who is going to be playing in his college band. He needed money for his student teaching years later and he sold it for $1800. Today I play a Selmer super balanced action Sherry to Jubilee Duchenne tenor. I would never go back to playing my old saxophone but I sure wish I could get my hands on it just for sentimental value. One day a lady came in to school and asked me if I would like to buy her dad’s mark six alto and I handed her the $1000 she was asking for it and I absolutely love that horn. When it came to choosing a soprano I went with the Yanagawa WO 20 bronze curved saxophone because it throws more sound back at me and because I knew that they played well in tune. The action is also fantastic.

[@DrRocketTurner]

At last, a couple of experts with the integrity to tell the truth!!! Thank you. My Mark VI alto played poorly, the bad news->the only good news is that I sold it after a year for a profit! I have played Buffet, Mark VI, J Keilwurth (great but dark), and finally settled on Yamaha’s, alto and tenor! Way better tuning! 🚀

[@bettersax]

Yamaha makes great musical instruments and always have.

[@1dotele]

I have a RLU66 and its great

[@paxwallace8324]

Bob Rockwell the elusive phantom legend of KBH I was very impressed heard him with his band at Jazz Cup. Such a master.

[@MrBoybergs]

Best advice ever......find a decent set up that works for you; stick with it and practice. We're all tempted to try different mouthpieces, reeds and horns and it is a fun thing to do. But it can also be a distraction. All saxes are imperfect instruments (even modern ones) and it can take time to compensate for the variables on each individual horn without having to consciously think about it. I realised many years ago that when that inevitable urge to make a change comes around, it's almost always because we've become too used to our horn and fancy something different; and that surely, is the very reason we shouldn't.

[@timcason3479]

I had a Mark VI and gave it up for a Monique. Yes a Monique (a Taiwanese made selmer copy)! It was a gift, It's white and gold even but man it plays sweet all through out the horn. The person who bought it for me and gave it to me didn't know much about horns but thought it was beautiful (that it was). Little did she know how easy to play and how awesome of a horn it was. I was totally shocked even!!!

[@alssupersadgarden]

so true, this guy is so true. If your good, you can make a student Bundy from the 1970s sounds sweet as honeysuckle in the spring.

[@joerumler48]

Jimmy Forrest from the Basie band played on an intermediate tenor, I think it was a Bundy , back in 79/80....he "ate" that tenor :-)

[@jonpearce8832]

Really informative video. I agree it's mostly the player (I used to get almost as good a tone and intonation playing on a very very basic B&S alto as I did from my SA80II Alto), but good kit can help to up to a point. After much research searching for a professional tenor with a powerful and dark tone, I bought an amazing 1962 SML gold medal I in nickel plate. Way cheaper than a modern Selmer (2k), amazing intonation for a handmade vintage horn, good economics, unique design innovations, and a dark tone which is both fuzzy, beautiful, adaptable and monstrously powerful when required. It is so fun to play. I've needed to come up with some different Altissimo fingerings, but other than I can't fault it. Genuinely think that SML are so underrated they deserve to up there with the very best.

[@darrellscott2483]

No one has mentioned Martin. I own 3 vintage Selmers. My favorite horn is my “The Martin” “The Official Music Man Model” alto from around 1962. Feather-light action, great intonation. Sweet little horn. Really appreciate your teaching content Jay!

[@bettersax]

The Martins are great horns and definitely under appreciated. Thanks for the support.

[@chuckg.terzianjr.5517]

Yep, Just Love my Martin Indian from 1953!!...love the sound and feel.

[@kevincosta9228]

I have a Committee 1 from 1937. The later Committee 3 is the pinnacle, but the Committee 1 is pretty darn good and I think it's tone is probably the best of all three incarnations.

[@DavidWilliams-sp8gv]

I just bought a P. Mauriat tenor and it is fantastic. The intonation is better than my Selmer Ref54! But both are great. Got a curved Yanagisawa soprano that is incredible too!

[@matpat5330]

Well, there are also other aspects of this matter: I never played any instrument in my life, but I love jazz festivals and like to go to Montmartre and listen to good jazz. Once, after fantastic jazz at Montmartre I said to my wife that it could be beautiful could play sax. Try to get what I get as a Christmas present… It was an used Ytenor. It wasn’t the most expensive neither cheapest. With the instrument I got 10 lessons in local evening music school. I am a full-time MD with a lot of hobbies, mainly sport and time-consuming sailing, but I decided to take it seriously, you know:” challenge”. I took all lessons and played every day. Found out that there are different instrument and mouthpieces and blades. But smtimes could not figure out what was wrong: was it me or the instrument... Decided, that in age>50 I have no time to struggle with may be unperfect instrument, but I have money enough to have the best sax in the world and concentrate on music, not equipment. Have heard and read that Mk6 can sound marvelous or excellent, but never heard that it can sound only good…or poor. Sold my Ytenor and bought Mk6tenor. From that moment all what was wrong was my fault, not the instrument. I could concentrate on my technique, embouchure, rhythm, arpeggios, licks, music, evt. change blades, but zero problems and thoughts about the sax (cause it was the best sax in the World…) Slowly with time I figured out that good sax sounds better. My teacher plays SAII and sounds marvelous, but she plays sth like 40 years! I still can’t differentiate btween Mk6 and others when they are played by professionals, but for me and my playing its big difference. Having the best sax in the World motivates me to play, I am confident with it, I trust it, I am proud of it and may be therefore I love to play it every day. Important is, that in my ears it sounds as the best sax in the World... well, maybe not only in mines cause now, only to years later, my wife keeps the door to my playing room open, and mousse are back in the basement.

[@bettersax]

Thanks for the comment.

[@thomaskipfer1008]

Really great piece. Great info. I'm sticking with my horns, 10M Conn, and Kohlert 55 Alto with rolled tone holes, brought back from dead. These play like fabulous blast from the past pieces. I agree that time spent on a horn is the best way a great musician can be made. My college horn, King 613, hey, it's all I had! I spent 5-6 hours a day perfecting technic, tone, tonality. It was the best horn for me then, but I prefer to spend time on Pro horns now. Thanks

[@jrbeckman2194]

I can't get over the fact that if you close your eyes and just listen to this video, you can't really tell when he's switching to another horn. In short, he always sounds like himself. That's why it's good to just get a horn that 1) Is free blowing; 2) Plays in relatively in tune; and 3) Has relatively good ergonomics (though I list this last because you can get used to just about any horn, e.g. the Conn 10M). I list free blowing first because there is nothing worse than playing a stuffy horn. But all this searching for "The Right One" is otherwise expensive and superfluous. Because you're always going to sound like yourself in the end.

[@patrickkelcey2435]

I recently acquired a P.Mauriat system 76, with the super 6 neck...it's been really well looked after and I'm really excited about hittin the shed man

[@jimbob5848]

Wow! What great counsel in the closing! Superb presentation.

[@dreamlover122769]

I love the way you put things across about saxophones and the playing of them and the last few minutes were intriguing and the best common sense advice i heard for a long long time It is actually very helpful and you are such a genuine and generous in your help and advice so thanks a whole lot all the way from London haha much much appreciated Sir

[@jimedelstein7184]

My VI purchased 1962 (97385) plays & sounds great. I d/b/a Sax & Trax. I needed a back up horn. I found a SCHAGERL 66U. My Mark VI is now my back up horn.

[@bettersax]

Cool, thanks for the comment. I haven't heard of those horns.

[@briandenigan9832]

Hey Jay. Great video. Informative as always, man. I agree with you. Having been a Selmer guy since I was a kid, I thought the Vl was it. When Yamaha came out with their 875 Custom EX tenor and 875 Custom EX ll alto, that was it for me. I tried them all side by side for a good while and knew that the 875's were going home with me. The Vl's have the mystic and cache of an incredible history and name, but it's hard to argue with superior playability, craftsmanship and quality control from a company like Yamaha.

[@JK-g62]

Hell yeah...im a Yamaha man too...but mines an alto 62!

[@HonestSaxSound-unEdited-]

The mechanic of yamaha is may be the best.. but the best sound is by Selmer.

[@edepillim]

My alto is a selmer cigar cutter circa 1927. I get the most beautiful tone out of it. It was relaquered with the keys only being silver plated. This was done by Jack Dawkes about 40 years ago. Tenor is a selmer super action circa 1947. Lovely sound. Then recent purchases were a yanagasawa baritone, as new and a Yamaha soprano like new. Now that lm 70 lm wondering whether to sell but just can’t see to do it! This video was very informative. When a sax is leaking the first things to go are decent low notes. I found a really good repair man a few years back who eliminated all problems.

[@marks.6656]

Thank God, Someone finally had the big balls to gather these thoughts into one cohesive statement. Buying and selling can be rather addictive for some of us, and that's often a very bad thing. Eventually, if one is very lucky and moves past it and evolves, you stop chasing French unicorns and start playing any sax that feels great and fun to play. Many of the greatest players were very happy with 10M and 6M, Super 20's, etc.... But the one thing that Selmer did better than anybody was to offer their products to musicians "gratis", and free of charge saxophones were very enticing to many of the great players who often had unlimited talent and very little money in their pocket. Selmer marketed themselves very, very well. But they did not and do not have the best saxophones. Great players will still sound great on anything.

[@clairedoyle4327]

Sadly, in many cases, I fear the savings paid for their next fix...

[@classified9668]

I own a 1949 Buescher Aristocrat Big B series. The horn itself is beautiful, with a rich tone, but I myself would love to own a Selmer.

[@cactuscanuck6802]

Great advice. I've played alto, tenor and bari over the years, with bari being my fave (and most time spent on it). Interesting thing, the best bari I've ever played was the beat up old Selmer Bundy II student model I played all through high school in the 80s. I'd take that one back any day!

[@stevepreskitt283]

I have the same feeling towards my high school bari from 40+ years ago, except mine was one of the "mythical" Mark VII baris that everyone says don't exist. That horn practically played itself (even though it was a little beat-up) and I miss it anytime I think of it. I recently was gifted a mid-80's Bundy II bari that's in horrible shape, but I'm looking forward to spending some quality time with it to see if I can get it back into playing condition.

[@acephali6533]

Thats what I have been screaming to the players for the last 10 year. I custom build modern mechanics for vintage horns, and Conn are my all time favorites. Especially the old New Wonder I. I play a serial 99002 with total new mechanics and a Bob Ackerman custom neck - nothing beats that.

[@Herehear49]

"Don't get caught up in the equipment". Yes! All that really counts is the music you make with it and if your playing satisfies yourself.

[@lawrencemoore]

I like to satisfy the audience--especially the dancers--too.

[@halfabee]

When my Selmer Buescher Aristocrat 200 USA need repair I purchased a Yanagisawa 991 and played it ever since.

[@cmteturqueti]

The most honest and scary sax review ever 🤣🤣🤣. Cheers!

[@ronhorton21]

After playing Mark VIs in the Air Force Band for four years, at their expense, I went back to Miami, where my old repairman had one for sale... $500. It was a 1957 and it played great. I still play the horn, and yes, I cringe when I have to change repairmen after a move about the country. But, I love the horn. I have a straight tenor, a LA Sax, that feels just like the Selmer. And, when I was getting out of the AF, a friend was in Paris and asked what I wanted from the factory. For $500 he got me a low A bari with custom case, and my requested mouthpiece. I've played that horn ever since, and it still looks like it might be a couple weeks old. Tremendous horn. I haven't even tried other horns, because I remember what the Bird told Bud Shank once. Bud had loaned Charlie his horn when the need happened. He apologized that his horn wasn't playing that great. Charlie blew the roof off the place and he told Bud, it's not the equipment... |In fairness, I loved my Yani Sop sax, but sold it when I wasn't playing it enough to justify the paperweight.

[@wilfig]

I'm a little late to the party, but I replaced both my alto and tenor Mark VIs with a Conn 6M and 10M. I have no regrets, even though the ergonomics of the Conns aren't stellar in the least. It's the sound I prefer.

[@RatPfink66]

Ergonomics too are a personal issue - altho we treat them like they're the same on a given horn for everybody. Unless something is really hanging you up - like the Martin C melody that has a gorgeous tone, but I have to bend my left wrist out 45° and hold my right hand way back at my side to play it 😵‍💫- intelligent practicing can help you over most such difficulties. FWIW, i suspect one reason modern players may have difficulty with the keywork of older horns is that so many of them play _all_ scales in _all_ keys at _all_ tempos...which players didn't necessarily do decades ago.

[@geraldheidel8523]

I’m so happy to come upon this video. It justifies the trade of my 1966 Mark VI alto (purchased new) for my Yanagizawa WO20 a little over a year ago. I was always a die-hard Selmer guy and still play a Mark VI tenor (a 1956 5 digit horn) and a mid 60’s low B flat Mark VI Baritone, although I should add that I use a low A Yani for big band gigs. Anyway, I grew older loving my Selmers but always had to be careful with the alto. Tuning was always a problem and mouthpiece/reed experiments didn’t help. Your comment about the neck made sense and I probably should have tried a different neck. However, there were other things about my alto that were issues. The side key mechanism (the ball design) was a mistake from the previous fork design. It wore out and was difficult to repair. But being able to play the horn in tune without difficulty was the the biggest problem and no amount of adjustments solved the issue. So I give you credit for my decision to try the Yani alto. It was after seeing one of your videos featuring the Yanagizawa line that I started a search and found the horn I now own. The dealer(a well known online saxophone shop) made an even up trade, and while it could be said that the deal was in his favor, I’m not the least bit sorry. This Yani alto is the best saxophone in every area and I have never looked back.🎶😄😎

[@bettersax]

I traded a mark VI straight up for a new Yanagisawa too. 😁

[@pierrettepolvent1262]

My knowledge about Saxophone is a mega big ZÉRO but ... but ...its Sound .... Magic ... when it is right Thank you Jay to share your interesting visit . Very plaisant and instructive

[@bettersax]

Thank you Pierrette.

[@bernardedwards5604]

I used to think so until I did some observations I have a Mark VI tenor love it too! I also have a Cannonball alto and Yamaha Soprano. Bottom line get something you are comfortable with I actually play my Alto more than them all. It’s not a blanket situation. I got a old alto from a shop and it had a retractable neck, never ever saw anything like it but it played and sounded UNBELIEVABLE we could never find out exactly what it was…I agree with you..

[@ljohn2532]

For years, I wanted a Mark VI. I love vintage horns, and have played many. Many of those years I have played a Conn 10m. I finally got the funds to start looking for another horn, and I tried a Mark VI. Boy, I was thinking it was the horn for me, until I tried a P. Mauriat. For a fraction of the price, I am happy with the P Mauriat, and have gotten over my “I need a Mark VI” syndrome. Thanks for the video and very wise words.

[@gregkingston4913]

Ive owned plenty of vintage horns and modern horns and I too have alto and tenor P Mauriat 66UL and 67UL. They are killer horns although ergonomics on my Yamahas were better so I made brass key risers for two of the palm keys.

[@parageet]

I´m into Yanagisawa since almost 30 Years now. The first Alto 500 I got by chance and started to practice (yeah). I bought a new neck after some years which really revalued the whole thing. Over the years I compared it to many Selmers and other horns and the Yani just was - my horn! It got a bit worn out and after making a little heritage I went into the shop and got a WO30. Fantastic horn and maybe the best in the world ;-) Perfect ergonomics, very good pitch and a broad bright and yet warm tone. The only hook: too perfect :-) Well, thats really a luxury problem! Now I gotta play another decade to make it really my own voice... Great video, regards from Berlin, Raffael

[@DonGutheil]

Great video. I've had the pleasure of being a collector as well as a player.... Kings, Yamahas, Keilwerths, Goodson's couple of models, Kessler, Barones, Macsax, Martins, Yani's and most others- besides different finishes/plating - several MK VI tenors. Many had problems, but thankfully I studied and learned how to do most of the work. Here's what I do once in a while... I line up about 10 of them and go down the line with the same mp/reed combo and play them. The first one, I say "that's great". The second one, "that's also nice" - and usually the same as I do down the line. If I don't think something positive, I take it out of the lineup and re-tweak it until I'm happy with it again. I love them ALL. True that each has their slightly different character and ergos - but I consider that like a family's children - all similar but different - and all loved. BTW... I did a weight comparison check on different tenors. I forgot the exact numbers, but I do recall that the MK VI was among the lightest (6.1 lbs.... I think) and my Silversonic, the heaviest at close to 11 lbs. Another BTW... After playing any of my tenors for 15 minutes or so, I forget which one I'm playing and sound like me anyway. At the end of all this, I still whole heartedly agree with you. LAST BTW... You can see a few of my rebuilt/customized tenors … You Tube Don Gutheil "The Look of Love" (to and with my dogs)

[@bettersax]

Don, thanks for the informative comment.

[@jrussianball5033]

I HEAD UR GAY XD

[@navymusician822]

I own a VI 85xxx, a 1939 Conn 10m, and a Yanagisawa- I STILL can't decide which one I like the most because they ALL play GREAT!

[@connor3308]

I actually own a King Super 20 Tenor Sax. It’s such a great horn, it’s never let me down. I’ve carried it numerous all-region bands, and it’s been carried to 1 Texas State Solo & Ensemble Solo. I love everything about the horn. Kings are great horns, but so are Selmers. My second T. Sax is my Selmer Jubilee edition Black Laquer, and it’s just like the King in the sense that it’s a good reliable horn. I strongly recommend those brands if you can get hands on one of them. I’d love to try Cannonball, I heard they make pretty good horns, anyone know?

[@bettersax]

Isaac, I've liked the Cannonball horns I've tried. thanks for the comment.

[@randyemerzian6089]

Thanks' Jay for t his cool video! I have had my Selmer Mark VI Alto now for over 45 years. I did not start out on the Selmer, but I know the Selmer Mark VI has given me an extra advantage. It is true that a new player will advance much better with a better sax. While not perfectly in tune on every note, I would not part with my baby any price! I also play Yamaha professional Tenor and Soprano, but I still love my Selmer! Can you imagine where we would be without the Selmer Sax history. Thank you Henry Selmer for all you have done for the evolution of Saxophones !

[@weiareinboud1273]

Interesting! I have only had Selmer Mk7, super action 80 and a 1971 Mark 6. And tried many new ones in the shops, Yanagisawa and Yamaha for example. My idea was that there could be not much difference between the horns, that most difference is in the mouthpieces, but well, the Mark 6 played so much better...

[@henryholt1359]

I sold my Yamaha YAS23 to Nick Hempton, probably 20 year's ago (I believe he still plays it today and he sound's great on it) and after many many other horns including a clunky MK 6 ,I now play a John Lehner (my friend and repairer who designed a beautiful horn and produces them in Taiwan for $3500 Australian, so I have" 2 "of them as I live in "2" locations I like the consistency) I love the horns I have now, but most of all I enjoy my Jody Jazz Giant and Reed set up, for me that combination work's.. thanks for the video! to really make alot of sense, great info, much appreciated.just subscribed

[@bettersax]

Thanks Henry.

[@larryweintraub6456]

Okay, I play a Selmer Mk VI tenor 214,xxx. It's from 1972 but ya know what I love it. I grew up on this horn. I take really good care of it, don't play it outside in the rain, snow or cold. I use key clamps and swap it out after I play it. My repair tech has kept my horn in really great shape. It really has a sound and I love the ergonomics. This being said adjustments have been made to make it play even better. Now at 1 time I had a late 1941 Conn 10M. The Conn played better down low than my MkVI. However up high my Mk VI had a better sound and cut more. It has a more commercial sound and my Mk VI blends really well. Although the Conn did blend well too the ergonomics were hard for me, especially the left hand pinky keys. So I ended up selling the Conn 10M. Segue to today. I still own and play my Mk VI tenor. However today my backup tenor is a Cannonball Big Bell tenor. This horn plays very similar to a Keilwerth but is about $2K less. The feel and ergonomics are similar to my Mk VI. The intonation is really great. The sound, especially down low is close to a Conn 10M or SBA. I actually liked the Keilwerth SX-90R too but I could not afford it. The Cannonball is a great horn and it's fully ribbed and built like a tank. MY alto is also a Cannonball Big Bell. So even though I love my Mk VI I steer younger players away from them. Who knows what problem's you are buying. The Tenor Madness horns are getting great reviews too. Basically I tell students to try the Cannonballs, Keilwerths, Yani's and Yamaha's especially the YTS and YAS 62's. Btw - Phil Woods went over to Yamaha so he could get the health insurance. They made him an employee if he endorsed their horn. When I saw him play he was still playing his Mk VI alto w/his Meyers 5M using a LaVoz reed. Okay this is long enough.

[@bettersax]

Thanks for your interesting comment Larry.

[@jessememan437]

great additional info about Phil still playing his VI. I came up with him and still play my VI alto and have never left LA VOZ reeds. I will NEVER let my VI's go ( tenor, alto, super-balanced action tenor [I include this among my topic axes] yamaha soprano I'll never leave) and if I were ever in the money (...right...) I'd consider another. @ Crossland high school in the early 70's the band was outfitted with VI's across the sax section. the bari was budder.

[@Craig2760]

Larry Weintraub I still have mine, bought brand new in ‘73. Been overhauled twice in 40 years. It’ll be mine till I’m gone. Not interested in any other Sax.

[@timeWaster76]

Yea not uncommon. For many the best gig they ever have was a horn manufacturer endorsement didn't Coltrane's alto sell for 115k.

[@riosax1536]

Well after trying a lot of saxophones over the years , I’ve settled my journey and now play my Yamaha YTS 82Z mk11 custom in black lacquer , Theo Wayne Shiva destroyer 8 with fiberreed copper carbon in my rock/ blues band and onyx reeds for the mellower stuff , really happy with this setup

[@jennifer86010]

The Selmer MarkVI, made in Paris is the "Stradivarius" of saxophones, which is why they are so much in demand. I've heard Stradivarius violins played in a blind audition comparison, and often they don't sound as good as a modern-day fiddle. Regardless, a good Mark VI will always sound good in the hands of a good player, and it will hold its value, especially because it is no longer made. Its playability is totally dependent on 1. The player. 2. The technician who takes care of it. Two common myths about the value of Mark VI saxophones are 1. Any serial number under 100,000 is desirablle. 2. The original lacquer is most desirable. Both of these notions are false myths. The materials. design and building process of the instrument did not change after the 99.999th horn. Those aspects remained the same over the decades. The lacquer on the instrument was applied to protect the metal from corrosion, not to add tonal or aural characteristics to the horn's sound. The myths about lacquer on a musical instrument grew out of the early days of violin making, centuries ago, where a violin maker would boast about a secret lacquer on his instrument, much the same as a "secret recipe" that a chef would talk about. Since none of the early violins varied much in design or construction, the way the instrument makers would sell their product as a unique and magical instrument would be to brag about their original "secret lacquer", which was something that could be a secret formula, but in reality, had little to do with the sound of the violin. If you look closely at most of the top brass players in the world, saxophones, trumpets, trombones....the best players usually have little-to-no lacquer on their horns. Yet their horns sound fantastic !! This is because most of the lacquer has worn off over the years of playing these instruments, and the fact that they still produce a great sound and rich tone, attests to the fact that lacquer has little to do with the sound of the instrument, and far more to do with the overall cosmetic appearance of the horn.

[@thirteenthtone]

Putting in a plug for Holton Collegiate horns. I bought my tenor for 500 bucks 20 years ago, and have never wanted another horn. Matter of fact, I just spend a whole heap to have it totally overhauled, and it's even better now. I had an early collegiate alto that I bought for $100 and it, too, was a monster player. Recently, I found a Grassi Artist Alto for $100 that is a screamer... really bright, but in very good tune and easy playing. Same story, if you like how a horn feels, play it until the wheels fall off. I've been massively happy with the results I've gotten form my $700 worth of 3 horns :) Seriously about the Holtons, though, their everywhere and cost nothing. Go get em!

[@janbevelsborg]

Played a selmer MkVII for 35 years. Also a Mk VI but the 7 is more open in the high register. More fresh sound. I prefer this 7 above this 6.

[@bettersax]

Thanks for the comment Jan

[@wuergha]

OK, finally somebody with a vote for the 7. Got my own Mark VII new about 1977 and still playing it. Quality and sound are outstanding.

[@johnnyloungejazz5477]

Jan Oude Grote Bevelsborg That 7 could be a left over 6.

[@stanhegeman8751]

Hi.Been playing a few years (45) and never owned a Selmer nor played one. However, I've owned and have been supremely satisfied with the Yamahas I still own. My alto I bought in '74 right after Yammer stole the lead from Selmer. Still have my YAS621 as original owner, and can say it has exceeded my playing abilities but has never disappointed me from a mechanical point of view. BTW, tonally, being 10 ct gold-plated, it is AWESOME! My first Yammer tenor, which I still have is a 61 and has been repaired faithfully since acquisition in '85. I prefer the mechanisms over the Custom Z 82 I bought new unlacquered in 2006, although I LOVE the tone of the 82. The 82 has been overhauled twice in the last 10 years because I'm in Louisiana and I play alot. Thank you for your honest point of view, My bari is a Cannonball which I do enjoy immensely. BTW, my bassoon is a Schreiber S58, and my flute is an open-hole Yamaha, and my wind-synth is also a Yammer.

[@bettersax]

Stan, nice collection you have there. Thanks for the comment.

[@nanasousadias5217]

I had a few tenor saxes, Selmer Mk VI, Selmer SA 80, Conn 10M, Yamaha 62. Now, I have a Canonnball Vintage Reborn (Brute) and it's the best horn I've had untill now.

[@bettersax]

Thanks for the comment.

[@burtshort9900]

I put my(1968) mark vi in the closet and am playing a (1926) chu berry.

[@adamdoylemusic8498]

I own a Cannonball Vintage Reborn as well! Beautiful horn and plays amazing. Reminds me a lot of a mark vi but at a cheaper price

[@alexig1840]

Cannonball bell stone Series raven One sexy Instrument

[@PearceVaughn]

The Brute is the only Cannonball horn I've ever felt a click with. I played an old Big Bell for a couple years and never realized there wasn't exactly a click happening between myself and the horn because I had a limited frame of reference. I'm mainly playing baritone, and I've played so many different horns. I play a VI now, after years of playing so many different horns. My tenor is a Conn 10M and I absolutely love it. I find the Series II and III tenor horns to be too snappy with the keywork, but they certainly do give a rich, lush tone. I've never felt anything special with 62's. I personally find them to feel generic.

[@eddyhoughton6542]

100% agree with you Jay. I used to work in a high-paying job, and could afford to buy top-end instruments. I resisted the temptation to pay €6000 for a hand-made Italian horn, and stuck with my humble Yanagisawa 901 Tenor. I'm glad I did, because I could afford to pay for plenty of lessons from a very good teacher, and coupled with many hours of practice, I made loads of progress. I wouldn't have been a better player for having a ridiculously expensive horn, but not having the lessons. The flip side of the coin is that I now don't work in a high-paying job, the industry I used to work in has disintegrated, and I will never own that sexy Italian horn now!

[@JiveDadson]

The "SBA" altos were sometimes real beasts. Paul Desmond was offered a new Mark VI, and he declined.

[@JCsaxophile]

I hear ya!! In the early 1990s, I've had the pleasure of knowing the late great Harold Ashby from Duke Ellington's orchestra and he was a stone cold Ben Webster man! I was in his apartment in NY one day talking about his Ellington days and he pulls out his beloved BA tenor "Bessie"! I also happened to notice that in his closet he had an original 1960s Selmer Mark VI direct from the factory(mint condition case, original lacquer, papers, etc.). I inquired about his Mark VI and he just simply said with a frowned face "aww that piece of junk"!! To each his own:)

[@jazldazl9193]

I agree. I've had 4 or 5 MK VI altos and kept only my SBA alto

[@sitarnut]

Desmond was witty and way intelligent. I have a late 70's Yanagishawa Soprano.. plays in tune, well made, heavy, made out of real metal, gorgeous finish and I want to keep it forever.

[@richardcasey7521]

You are SO right about the neck. But I also have owned many saxophones and repaired hundreds of them. I’ve concluded that a great Mk6 has a unique tone quality that not even a new Reference 54 cannot duplicate. My main horn is a 71,000 tenor. It’s true that there are many brand new Asian built saxes that are great and affordable. What’s most important is practice and the study of music.

[@glen.s9860]

The Reason for people to rave so much about a piece of metal, even they may be unreliable of the past. What made those Selmer so great and still sort after, was there sound. I hear sax player say the mark six is like a Rolls Royce when they are played, with that smooth sound. If you can remember back in the days when you listen to music, it was valves or transistor, but the valves were unreliable, but smooth on the ears. That is really what the MK6 is all about, so i bought my self a new 54Ref due to it built off the MK6. I find a sax is like a car if you uses it reg, you just got to service it, to keep it blowing at its best.

[@georgekosich5563]

Some studio players in LA switched from Selmer to Yamaha and then back to Selmer again because of the Selmer sound. I own both and I am pleased with both!

[@capailldubh]

So glad I bought that 1979 Yanagisawa T-800 as my first sax. All geared up first go :-) Back to my scales.

[@bettersax]

Nice horn!

[@ikg1796]

Thanks for visiting, Jason! We might have a few more horns for you to try next time you're in our neck of the woods...

[@bettersax]

Ok, I'll be planning a trip soon... Thanks for letting me film...

[@dnsps]

Excellent! I bought a new Mark VI tenor in 1965. It played like greased lightning. I had it highly modified to fit my hands. Then in the early 80's I came across the Yamaha 62. The sound on the Yamaha 62 was monstrous compared to the Mark VI and I bought the 62 thinking I could modify it as I had the Selmer. What I didn't know was that the 62 had the American (wide) bore and the Selmer had the French bore (more narrow). The Yamaha drove me nuts for three decades until I got it tamed. I made all of the modifications, (See my book "Sax and the Higher Self" on Amazon), still it wasn't responding. One day in the middle of all that I tried a Yamaha Custom and VOILA, it was the Mark VI with an American bore. I noticed on the Custom that it had gone back to the blue steel springs. They made a major difference over the stainless steel springs on the 62, so my tenor got retrofitted to the blue steel springs. As a working musician trying to raise a family, there wasn't enough money to keep swapping saxes until I found the "Perfect One". I know sax players who spend exorbitant amounts of money trying to find the perfect horn, a never-ending battle for the Don Quixote sax player. So I took a different approach and felt that a decent sax plus a good repairman and a little inspiration could more than bridge the gap. My Yamaha 62 is probably the most highly modified and unusual sax around, with different key mechanisms for more efficient playing. One of the issues that I addressed is the damage to the left thumb. With decades of 6 night a week playing, the left thumb begins to cave in. Damage to the bottom knuckle on the left thumb ensues for us older guys. (When I showed my repairman what I worked out, his eyes lit up and he said he had the same problem.) That left thumb buckles inward and arthritis settles in there. One day the pain got so great that I knew it would be the end of my playing if there wasn't an answer to that. A flash of inspiration hit and I built a "Thumb Crutch" which keeps the left thumb at the proper angle and wouldn't let it buckle inward. That has worked wonders and that knuckle has been healing, finally. You can reference my book on how to build it. There are many, many things to improve a good horn. Kangaroo skin pads are well worth the extra cost as they are almost indestructible. I've got the Schmidt pads on the upper five and lower five keys to add brightness. My repairman refitted a Yamaha V1 sterling plated neck to my 62, which greatly improved the instrument. Having your mouthpiece balanced will improve the fluidity of the horn. All my side keys are built out to fit my hand. I don't want to play on a sax that was designed to fit small hands, (and they all are). I've got keys that trigger differently and some are shaped radically different. There is a lot of room for improvement on any and all saxophones. There is no one great saxophone, but there are some pretty good ones to start with.

[@bluegoose555]

Thanks Don.. yes ..horn specifications/build quality/ergo.. the hands (natural comfort and/or the adaptation as separate things ( my cheap tenor (viking m58) apparently a taiwanese 38 SBA copy?(its a great sounding and free blowing and fun horn (on 7*) ..but.. Im not sure Ill ever be able to blitz that low end distance (adapt .. my small hands) that left hand linkage .. Ive been keen to try Yamaha Z's/EX.. ..to hear for myself .. and to feel the evolved modern hand ergo....the tightness of newness ...horn and neck specs.. and set up (but..experience is the teacher (via doing the work)... my 1934 Selmer Alto is fast and and tight and very easy... nice ergo..smooth (blue steel) well cared for 80+ years old.. and many years in a closet ( but that points to long term build quality ) so yeah.. do the best you can.. with what you have.. Id feel bad about trading the Radio Improved (20 years only recently even thought about it) for me its always been mostly about the reed/mouthpiece airstream (ie.. one cant change the specs of the horn) but as you point out.. it makes a huge difference (bell..bow ..neck etc)... and hence why the "Vintage Selmer Eras" are via the serial numbers (ie differing specs..frankensteins) ..those great horns they made. .. just showed up via the production line....as well as the lemons.. but man.. you can feel it.. .and you can hear it...warmth and depth and punch...I know sound is a preference.. but isn't it obvious ?.. its not just the player.. that is THE myth (that good players can make any horns sound good etc) .. its the player AND the horn...and the setup.. but mostly (as Jay says).. its the time spent playing... that Tenor guy in Wynton's band has a very heavily modified 10m (some of those side key extenders seem 1" high ?).. it makes perfect sense (bridge the gap).. sir I salute you... but yeah.. some things reverberate.. and some things dont ..and some things can be made to .. and some things cant.... and some things are just a pain in the ass.. no matter who made them.. a pipe with holes..diabolical !

[@BarryReitman]

54 years ago I sold my mint Mark VI tenor for $325. Tonight I will sleep good for the first time since. Thank you!

[@RndomFX]

you shouldn't you could of gotten way way way more for it today. haha.

[@naskosax8330]

😀😀😀

[@ricaard]

@@RndomFX 🤣😂🤣

[@GriffeSaunders]

Great advice Sir. My first Alto was a New King with fluted toneholes, purchased in 1973. It was the best Alto I've ever owned. My first Tenor was a Selmer Paris from the 1959 time period. Between my Beusher Aristocrat Tenor & the Selmer, the deciding difference for Work was a brilliant Saxophonist/Boat engineer Mark Zarr, repaired the Selmer. Bam! Game on. Now I play an old Yanagizawa Alto, a Unison Tenor which is problematic and a Borgani Soprano. Looking to get a Yanagizawa Tenor, Gods timing. Keep up the good advice. Griffe in H.K.

[@goodmansaxophone]

"The Selmer Mark 6 is highly overrated, and overpriced." MIC DROP! Loved this video. Thanks for the transparency. There is definitely a stigma of needing to play a 6 to "be legit." It's not "legit," though, if your sax is not reliable, and consistently out of tune.

[@markhubenthal]

What an incredible video Jay! Such a wealth of knowledge!

[@spontaneousgroovincombusti2902]

Bravo for telling it like it is brothers. I had a great but imperfect '74 MKIV, also handpicked by me and my teacher over a half-dozen others at Chas. Ponte in NYC. People and players who have drank the Selmer Koolaid and are closed minded to other fine horns are IMO, missing out. Spending $9K on a new Selmer is madness. Spending $5K-$14K on a MKVI is also madness. Top Taiwanese and Japanese horns can be tremendous at $3,500-$5K. The Selmer sound is often lush, spread, warm and lovely, but I don't love the tradeoffs, the most significant for me being a resistant low end.

[@bettersax]

Thanks for the interesting comment.

[@oleflogger6828]

$9K for a new Selmer? They listed at "only" $6500-6700 a few years ago (Reference models).

[@BKrystall]

My dad played on a mark six for more than half a century. He now plays on an older balanced action from the late 30s. Tenor is his main axe. He also played the alto, baritone and soprano for his studio work. He plays independent jazz.

[@sepulveda67]

The best horn is the one where you best develop your tone and chops.

[@bettersax]

True. Usually it's better to practice on the horn you have than search for a better one.