Gear & Promo

It’s been some time since posting about gear or doing much promotion for that matter, so here’s a little of of each…

Somewhere along the line in the received history of saxophonistic wisdom came the idea that one should always play the largest mouthpiece tip opening that can be managed without too much difficulty.  I don’t know who started it but I last heard it from mouthpiece maker Fred Lebayle (who passed last year) when visiting his shop.  Fred was adjusting one of his mouthpieces to my liking and seemed to think I should be playing a number 8.  I talked him down to a 7* and that’s been it for the past ten years or so. For you non-saxophonists, smaller tip openings tend to deliver a more consistent core tone across the range of the horn while larger tip openings tend to be louder and bigger sounding and lend themselves to a greater range of tonal color.  When the saxophone was invented (in the 1840’s) the mouthpiece that was designed for it was perhaps the equivalent of a number 2 or 3.  Over the years this gradually increased due to the musical requirements the instrument was placed in.  By the 1950’s jazz players were typically playing on a number 5 or 6.  Lester Young was playing a number 7 around that time which he considered “very hard on the chops”.  Today, few jazz saxophonists play on anything less than a 7 and some folks have played on pieces as large as a number 10. Wayne Shorter comes to mind.  Don’t ask me how, I’m sure I wouldn’t be able to get a sound out of it.

I recently went through a period of three or four months practicing mainly Bach on a small tip mouthpiece of the kind preferred by classical players.  One day I decided to pull out the Lebayle, which sounded like an air-raid siren by comparison.  Keep in mind, this is all relative.  Once acclimated I felt right at home again but it got me to thinking.  The last solo concert I did (using the Lebayle) reminded me that I could easily overpower the room if I wasn’t careful.  That’s a distraction I’d prefer to do without so I decided to explore the possibility of finding something in between.

Fortunately my friend Derrick Michaels (wonderful saxophonist from Baltimore) shares an affinity for vintage saxophones and mentioned that he had a Morgan mouthpiece 6 tip opening, offering to let me try it out.  It’s sold as a classical mouthpiece but it’s actually larger than most any classical saxophonist would use.  I’ve gotten one of my own and have been playing it for the past few weeks.  Pianist Ethan Iverson came by recently to do some playing and it passed its first real test.  I’m looking forward to getting more acquainted with it over time.  

Have a listen to Derrick playing this mouthpiece on his solo recording, “Live at An Die Musik”. 

And then the other thing…

Seems I’ve lasted long enough to become re-issuable.  Some months back I mentioned that this was pending and now it’s official, the first two recordings by “Trio New York” have been remastered and reissued as a double CD set on the ezz-thetics label.  ezz-thetics is a recent venture by record producer Werner Uehinger who established the Hat Hut label fifty years ago this year.  Trio New York took a free approach to the great American songbook featuring organist Gary Versace and drummer Gerald Cleaver.  The original recordings date from 2011 and 2013 respectively and were released on my own label, prime source.  I’m pleased that this music might now have a bit wider reach and invite you to consider adding it to your collection should you not already have the original releases.   I have a limited number of the double CD package which I’m offering for direct mail order in the US.  Have a look under the “merch” tab of the Band Camp page.  If you're outside the US you can find a list of distributors on the Hat Hut website.  Or if you are digitally minded you can get the music from the ezz-thetics Band Camp page.  

The cover of this reissue is a photo taken in Greenwich Village by Luca Buti at the intersection of Seventh Avenue and Barrow street.  It’s just a couple of blocks from the former Cornelia Street Cafe and the 55 Bar, places where the band often played.  Still going in the neighborhood are The Village Vanguard, The Blue Note, Smalls, Mezzrow, Arthur’s Tavern, the Cellar Dog, Zinc Bar and The Stone which are all within walking distance.  I’m also reminded that when I arrived in NYC in 1983 there was Sweet Basil about a block away as well as Lush Life where I once heard the great Dexter Gordon.  

All About Jazz has posted their review. 

Looking into the crystal ball…

Wednesday, February 18th, 2026 at The Stone here in NYC…duo with pianist and force of nature Sylvie Courvoisier!  Do stay tuned…