The Return Of The Prodigal Son

 

It's been three years since I last posted an article.  I went into a kind of retreat after the beginning of the "plandemic", and it seemed that the world had not only gone into a collective panic but also a collective insanity.  The political and social climate had gotten uglier, and it's even worse now.  While music was my refuge, the needless lockdowns prevented me from seeing my favorite players, and some have passed on since.  My own health issues cropped up again and I had to go into the hospital twice and have two more surgeries.  It was not related to Covid, and in fact, I never got Covid despite living in one of the areas with some of the largest rates in NYC.  Just the same, I wasn't really able to get around much and even after places were allowed to open up again and other restrictions were lifted, there were too many negative changes in the whole music scene, and now, with inflation at an all-time high, I can't afford to go out anymore with a social security income.  I had hoped that my blog could get ads and I could generate some revenue this way, but for reasons Google never explained, they wouldn't allow this blog to get ads and claimed I violated some policy, which they also never explained exactly what that violation was.  

If there was a bright spot, it has been my frequent correspondence with Alex Mingmann Hsieh, the president and CEO of P. Mauriat saxophones.  I had lived in Taiwan for two years, just before Taiwanese built saxophones really made a splash in the US and world market.  Today, Taiwan is in the forefront with Japan in producing world-class saxophones, and the P. Mauriat brand was instrumental (no pun intended) in making that happen.  Alex and I often discuss the current geopolitical situation, especially as it relates to Taiwan.  Of course, we talk saxophones as well, and he always offers to set me up in Taiwan if I ever return there.  

The other bright spot, and for me the only one in New York City right now, which is now experiencing a crime surge as well as social disaster, is the saxophone shop of my friend John Leadbetter, which is now, in my opinion, the premier sax shop of New York City, and John has earned a reputation as a first-rate sax technician.  Aside from his ability as a tech, his shop is a one stop store for new, used and vintage horns, as well as mouthpieces, reeds and all the accessories you need.  He carries the top names in new saxophones, as well as a good selection of vintage horns.  Check out his website

https://www.jlwoodwindrepair.com/

If you're in New York City, you really need to check out his shop.  Last year a friend of mine from Texas visited NYC, and on my recommendation went to see John.  He ended up buying a Forestone tenor saxophone.  For those who may not know, Forestone is a Japanese sax builder of excellent saxophones.

For me this blog has been a labor of love, both for the instrument I love and for the people who have played and play now.  I never meant to stay away so long, but now I have decided to get back in the game, start producing some more articles and begin checking out all the new models of saxophones that have been released since my last post, which was about the passing of alto great Richie Cole.  I want to review the horns, as well as look at some of the new saxophones for students and hobby players, such as Jay Metcalf's Better Sax, and Jean Paul, both which have gotten rave reviews from other players and allows a player to have a good horn on a budget.  I also want to start adding my own videos as well as videos of sax players and ensembles of all musical styles.  In good time.  I always have a special interest in directing the new student to whatever will keep their interest and want to be able to partake in the joy of music without having to worry that they're playing a piece of unplayable junk because they don't have the bucks for a top brand. 

So here I am again, and I want to keep providing sax enthusiasts with articles and reviews that will be of interest and of use to you.  Until next time, keep on saxin'!

     

Trubute To Richie Cole

Richie Cole and I at the Selmer Week exhibition at Steinway Hall, NYC, 2011

I only recently learned that alto saxophonist Richie Cole passed away on May 2nd at the age of 72.  He had apparently died in his sleep of a heart attack.  At the time of his death, he had relocated to Pittsburgh and had reset his career.  I had the pleasure of meeting Richie in 2011 when Selmer displayed their newest line of saxophones as well as the final incarnation of their Reference 54 "Bird" series saxophones.  I was trying out the various saxophones and Richie had introduced himself to me as I was playing random tunes on the dozens of saxophones that were on display.  A large number of other players and people in musical instrument sales were there as well, and Randy Jones of Tenor Madness was there and had set up a table for quick adjustments of the saxophones if needed. Richie had asked me which horns of all the horns I tried, which one I liked best.  He was just an all around nice guy, great sense of humor because we also joked about a lot of things, and of course, one hell of a great alto player.

Cole was born in Trenton, New Jersey.  He began the saxophone at age 10 encouraged by his father who had owned two jazz clubs in New Jersey.  This gave him the opportunity to meet some of the greats in the music.  At 16 he attended a jazz camp being taught by the late great Phil Woods, who was a mentor to him.  He had won a scholarship from DownBeat magazine to attend the Berklee School of Music in Boston. Before finishing however, he had joined Buddy Rich's Big Band, no small feat for such a young man since Buddy was known to be a perfectionist and tough task master.  After working with Lionel Hampton's Big Band and Doc Severinsen's Big Band, he formed his own quintet and toured worldwide, developing his own "alto madness" bebop style in the 1970s and early '80s. He formed the Alto Madness Orchestra in the 1990s.

 Cole performed and recorded with Eddie Jefferson, Nancy Wilson, Tom Waits, The Manhattan Transfer, Hank Crawford, Freddie Hubbard, Eric Kloss, Bobby Enriquez, Phil Woods, Sonny Stitt, Art Pepper, and Boots Randolph.  It was his relationship with Eddie Jefferson which was his primary focus until it was ended by the singer’s murder in Detroit in May 1979, which Cole witnessed.  For Cole, Jefferson’s death touched off a long battle with alcoholism.  He spent much of the ’80s and early 1990s living a nomadic existence, stopping off for periods in Los Angeles, San Francisco, Las Vegas, and Chicago. In the late ’90s, he returned to the East Coast, where he formed a new seven-piece band, the Alto Madness Orchestra. Cole made his final move to Pittsburgh, where his daughter lived. He quickly became an advocate for the city’s jazz scene, working and recording with local musicians and supporting them tirelessly in his interviews and album notes. His first album for his self-formed label, Richie Cole Presents, was titled Pittsburgh. The Pittsburgh version of his Alto Madness Orchestra accompanied Cole on all of his final six albums, the last of which was 2018’s Cannonball.

Cole is survived by his two daughters, Annie Cole and Amanda (“Amy”) Marrazzo, and by four grandchildren: Ricky and Julian Barajas and Emily and Abby Marrazzo.

Discography:

As leader

• Trenton Makes, the World Takes (Progressive, 1976)
• Starburst with Reuben Brown Trio (Adelphi, 1976)
• Battle of the Saxes with Eric Kloss (Muse, 1976)
• New York Afternoon with Eddie Jefferson (Muse, 1977)
• Alto Madness with Eddie Jefferson (Muse, 1978)
• Keeper of the Flame with Eddie Jefferson (Muse, 1979)
• Hollywood Madness with Eddie Jefferson, The Manhattan Transfer (Muse, 1979)
• Side by Side with Phil Woods (Muse, 1980)
• Cool 'C' (Muse, 1981)
• Tokyo Madness (Seven Seas/King [Japan], 1981)
• Alive! at the Village Vanguard (Muse, 1981)
• Return to Alto Acres with Art Pepper (Palo Alto, 1982)
• The Wildman Meets the Madman with Bobby Enriquez (GNP Crescendo, 1982)
• Yakety Madness! with Boots Randolph (Palo Alto, 1983)
• Alto Annie's Theme (Palo Alto, 1983)
• Some Things Speak For Themselves (Muse, 1983)
• Bossa Nova Eyes (Palo Alto, 1985)
• Pure Imagination (Concord Jazz, 1986)
• Popbop (Milestone, 1987)
• Signature (Milestone, 1988)
• Bossa International with Hank Crawford (Milestone, 1990)
• Profile (Heads Up, 1993)
• Kush: The Music of Dizzy Gillespie (Heads Up, 1996)
• West Side Story (Venus [Japan], MusicMasters, 1996)
• Trenton Style (Jazz Excursion, 1998)
• Pure Madness (32 Jazz, 1999) compilation
• Come Sunday: My Kind Of Religion (Jazz Excursion, 2000)
• A Tribute to Our Buddies (Fresh Sound, 2004)
• Back on Top (Jazz Excursion, 2005)
• A Piece of History (Jazz Excursion, 2006)
• Rise's Rose Garden (Jazz Excursion, 2006)
• The Man with the Horn (Jazz Excursion, 2007)
• Live at KUVO 2/11/08 (Jazz Excursion, 2008)
• Bebop Express (Jazz Excursion, 2008)
• The KUVO Sessions, Volume 2 (Jazz Excursion, 2009)
• Castle Bop with Emil Viklicky (Multisonic, 2011)
• Vocal Madness with Uptown Vocal Jazz Quartet (House Cat, 2014)
• Breakup Madness (Akashic, 2014)
• Mile Hi Madness (Akashic, 2015)
• Pittsburgh (Richie Cole Presents, 2015)
• Plays Ballads and Love Songs (Richie Cole Presents, 2016)
• Have Yourself an Alto Madness Christmas (Richie Cole Presents, 2016)
• The Many Minds of Richie Cole (Richie Cole Presents, 2017)^[5][6][7]
• Latin Lover (Richie Cole Presents, 2017)
• Cannonball (Richie Cole Presents, 2018)
• The Keys of Cool with Tony Monaco (Richie Cole Presents, 2019)

As sideman

With Greg Abate

• Dr. Jekyll & Mr. Hyde (Candid, 1995)

With Les DeMerle

• You're the Bop! A Jazz Portrait of Cole Porter (Summit, 2001)

With Allan Harris

• The Genius of Eddie Jefferson (Resilience Music Alliance, 2018)

With Jim Holman

• Explosion! (Delmark, 2012)

With Freddie Hubbard

• Back to Birdland (Real Time, 1982; Drive Archive, 1994; West Wind, 2002)

With Eddie Jefferson

• Still on the Planet (Muse, 1976)
• The Main Man (Inner CIty 1977)
• The Live-Liest (Muse 1979)
• Vocal Ease (32 Records, 1999; Savoy, 2003)

With Vic Juris

• Roadsong (Muse, 1978)

With Peter Lauffer

• Keys to the Heart (Peter Lauffer/CD Baby, 2010)

With The Manhattan Transfer

• Extensions (Atlantic, 1979)
• Mecca for Moderns (Atlantic, 1981)
• Vocalese (Atlantic, 1985)

With Karen Marguth

• A Way With Words (Wayfae Music/CD Baby, 2013)

With Mark Murphy

• Bop For Kerouac (Muse, 1981)

With Oliver Nelson

• Swiss Suite (Flying Dutchman/RCA, 1971)

With Anita O'Day

• Big Band at Carnegie Hall (Emily, 2009)

With Don Patterson

• Movin' Up! (Muse, 1977)

With Buddy Rich

• Keep the Customer Satisfied (Liberty 1970)

With Red Rodney

• Home Free (Muse, 1977 [1979])
• Red, White and Blues (Muse, 1978)
• The 3R's (Muse, 1979 [1982]) with Ricky Ford

With Janine Santana

• Soft as Granite (Janine Santana/CD Baby, 2008)

With Sigmund Snopek III

• Virginia Woolf (Gear Fab, 2000)

With Sonny Stitt

• Just in Case You Forgot How Bad He Really Was [live; rec. 1981] (32 Jazz, 1998)

With James Van Buren

• Live at the Kasbah (Van Buren Records and Tapes/CD Baby, 2003)

With Patrice Villastrigo

• Golden Orchid (Skinny Llama/CD Baby, 2010)

DVDs

• From Village Vanguard [includes both the Johnny Griffin Quartet and the Richie Cole Group (a quintet) in two separate sets/performances; recorded 1981] (2004)
• Eddie Jefferson in Concert Featuring Richie Cole: Live from the Jazz Showcase Recorded at Joe Segal's Jazz Showcase in Chicago on May 6, 1979 (50 minutes)
• Jazz Legends Live! – part 9 of 13 in this series, starring Dexter Gordon, Gary Burton, Billy Cobham, Ahmad Jamal, Carmen McRae, and Richie Cole (1 song - "Confirmation" - 4 minutes)
• Cool Summer [includes both the Stan Getz Quartet and Alto Madness (Richie's quintet with Bobby Enriquez) in two separate sets/performances at the Paul Masson Winery in California as part of the "Harvest Jazz" TV series; recorded 1981]

I Got Dem COVID-19 Lockdown Blues

This past year I had to deal with more health problems but finally two weeks before Christmas I finally had surgery that fixed the problem that had been plaguing me for the last few years.  I was quick on the road to recovery and ready to get back out there and play again and visit the music retail and repair shops to try out more instruments to review and recommend when the world changed seemingly overnight.  As this is not a scientific or medical blog, so I won't go into things that I am not qualified to write about as far as that goes.  I may however get a little political here because it is that apsect of this whole lockdown that is effecting every musician, music student, club owner, concert promoter, theater managers, and music patrons, etc.

This "pandemic" put an abrupt halt to just about all the musical activity in the country, as well as the world.  Working musicians have found all their gigs, present and future cancelled with no indication of when they can begin to play again.  Music teachers had to cancel lessons,  schools shut down so music studies or activities shut down with them.  The only bright spot for students is that it's possible to have music instruction live online via Skype for example.  There are also plenty of online resources for music lessons and information.  

I find it a little ironic that as soon as I took care of my health problem and was ready to get back into action that other people were getting sick and I was finally feeling the best in years, and still do.  The lockdown here however was pretty severe, and for a while most stores were closed, and just a couple of markets were open and you had to stand on long lines and also find you couldn't always get what you needed because they were out.  The toilet paper run was one of the most absurd things that people did. 

In New York City, as well as in many other cities, things got worse when riots broke out and businesses were looted, burned and destroyed, and it's still happening in these cities.  This is the nail in the coffin of any city not just economically, but socially as well.  In New York City alone, many businesses not looted or burned still went out of business because they no longer had money left to operate. 

As businesses here start to re-open, they are facing obstacles from a political front as the mayor and the governor, whose names I won't mention because I despise them and they are not worthy of mention, are fining and revoking the licenses of establishments that have "violated" their rather arbitrary and not well defined rules.  Add to that, there has been no guidance from the state as to when things can get back to normal.  They keep moving the goal posts.  Some places have already closed permanently, and others will likely close soon because they can't sustain their business under the circumstances.

On the musician side of things, I know a few players who are getting back to the odd gigs, playing under limited conditions, but at least they're getting back into it even if it's a little bit.  Some players I know are doing podcasts and other online programs to keep active and to keep their name and their music out there.  Some have re-opened their repair shops and see clients by appointment and have expanded their online mail order businesses.  Then there are players who have started doing online lessons via Skype or other online sites. 

One of my old teachers Tim Price, a top player, has been doing Skype lessons for 22 years, and if you need lessons and can't see a teacher personally, or there is no one available where you live and you are serious about wanting to learn from a genuine pro, I highly recommend him.  You can inquire at:

Timpricejazz @aol.com

If you are serious about learning and playing, he is the man to learn from, and as long as you have an internet connection, it doesn't matter where you are.  

If you are needing information about saxophones as well as buying saxophones and saxophone accessories, music, etc., I recommend the following:

Saxophone sales, service and repair:

https://www.jlwoodwindrepair.com/

https://www.robertoswinds.com/

https://www.nationofmusic.com/

https://www.saxquest.com/

https://www.sax.co.uk/

https://worldwidesax.com/

https://www.usahorn.net/

https://www.wood-stone.jp/

Saxophone music:

http://www.jazzbooks.com/jazz/category/saxboo

https://www.jazzimprovisation.com/our-products/jamey-aebersold-content.html

https://www.sheetmusicplus.com/instruments/saxophone-sheet-music/900077?d=sem_msn_Woodwinds_saxophone_music_books&utm_Woodwinds=saxophone&mkwid=pj5qHTKwQ|pcrid|647213549&kw=saxophone%20music%20books&msclkid=e3c30385b9b9198b5a225cb069e44964&utm_source=bing&utm_medium=cpc&utm_campaign=Woodwinds&utm_term=saxophone%20music%20books&utm_content=Saxophone

https://shop.schmittmusic.com/sheet-music-books/saxophone/

https://www.musicroom.com/productlist/Saxophone+Sheet+Music+And+Songbooks/Saxophone-Sheet-Music-Songbooks.aspx

Saxophone Manufacturers:

https://www.conn-selmer.com/en-us/instruments/band-instruments/saxophones

https://www.buffet-crampon.com/en/instruments/saxophones/

https://www.julius-keilwerth.com/en

http://www.pmauriatmusic.com/

https://usa.yamaha.com/products/musical_instruments/winds/saxophones/

http://www.cannonballmusic.com/

http://www.chateaumusicusa.com/

https://www.antiguawinds.com/

http://lcsax.com/

https://sahduoo.com/

https://www.gtsax.com/

https://theowanne.com/

https://jodyjazz.com/

These links should keep you busy.  No reason to let a lockdown or limited movement keep you from pursuing your musical goals.  

I will continue to write more articles now that I am back in action I hope soon to find a way to arrange to try out new models of saxophones and revisit previous models to see how they've held up over the years.  I will also keep looking for what I consider the best saxophones that fit whatever your budget allows.  I still believe that a beginner needs not just good guidance on how to play, but that they can play on something that will not fight them but instead allow them to develop their musical skills, talent and ideas.  Of course, I will also continue to write about my opinions on various subjects, keeping in mind that they're just opinions.  

Until next time, here's hoping that you are all coping with this pandemic and lockdown as best you can!

Review: Yamaha YAS-280 Alto and YTS-280 Tenor Saxophones Europe/Japan

YAS-280 Alto Saxophone

YTS-280 Tenor Saxophone

I have been out of circulation for a while as I have been spending time regaining my health and fitness, and fortunately, I am feeling better than I have in years, and so as a result, getting back out more and can now once again play music and trying out new and old horns to review here.

By now it is established that Yamaha raised the bar on student saxophones with the 23 series.  They were the best by virtue of their focused sound, the solid build quality, and while more expensive than other student horns, also had the best resale value of them all.  The higher price tag was justified by it's reliability and its durability along with its resale value. It was followed by the 26 series, which kept up all the virtues of the 23 series, with some improvements, but otherwise was much the same, which is a good thing.  When I learned that Yamaha had updated their student line in Europe and Japan into the 280 series, I was excited to see and play them, but disappointed that it was only for Europe and Japan.  However my old friend and repair tech who travels frequently to Japan always manages to find something that cannot be found here, and then ships them by freight from there to his home to become part of his private sax collection.  He literally has a basement that is filled with horns, some one of a kind prototypes.  Anyway, he always tells me that I am welcome to visit and play his horns. So last week I called and asked him if by chance he had the 280, and sure enough he had both the alto and tenor.  He told me they were great horns and I should try them.  I brought my two mouthpieces, a Meyer 6M with Jean Louis ligature and a Legere Signature 2.5 reed for the alto, and a Jody Jazz Red with Rovner Dark ligature and also a Legere 2.5 reed for the tenor.

Before I begin, I just like to reitrate that my reviews as always are devoid of a lot of technical details, especially when the majority of my audience are hobbyists and beginners, and I don't like to confuse them with all these details since their main interest is deciding on what saxophone to buy, its general qualityand how much they would have to pay.  The same for working musicians or semi-professionals who are good players, but still are on a budget while still needing a good, reliable instrument to make their living or extra income with.  

WHAT IS THE SAME, WHAT IS DIFFERENT

The first thing that is the same as in previous incarnations of this line is the build quality.  There can be no question that Yamaha has always from top to bottom built them with the highest quality of craftsmanship and materials and that all of their saxophones will provide many years of reliable music making.  The keywork, as always along with all the higher end saxophones in my opinion was always the best in the business.  One thing I always found with all Yamaha saxophones is that the keys always responded to the touch with speed and accuracy, and when you pressed that key with whatever amount of pressure you put on it, was solid and snapped into place.  The 280 also has the same bell keyguard that is one piece that covers low B to low C on the alto. 

What is different?  Previous versions used nickel silver for the keys and key guards and octave key.  The yellow brass had a clear lacquer applied to it.  This time all the parts are yellow brass, and the horn now has a gold lacquer finish and looking like a professional horn.  The only giveaway that it's not is the lack of engraving on it.  The other big difference is the inclusion of a high F# key, which was absent on previous versions.  This was a little puzzling to me as cheaper student horns not as good as a Yamaha all had those keys, so this is an important addition.  Aside from the higher cost of the 23's and 26's, I am sure one of the things that may have swayed some to not get them was the lack of this key.  So now Yamaha allows the student to play a wider range than before like any professional horn.  What is also new is that they now offer both alto and tenor models with silver plate.  As far as I know, there is no other student saxophone with this option.  

THE PROOF IS IN THE PLAYING

Having played many 23's and a fair number of 26's over the years, I expected this incarnation to have the same bright but focused tone and the same solid keywork as is typical of Yamaha saxophones in general.  As I said before, I believe from experience that Yamaha's keywork is the best in the business.  First, I picked up the alto.  Just the feel of the keys before I even blew my first note told me that it was going to be responsive and quick.  I warmed up playing long tones chromatically, then do a ballad, my favorite always being My One and Only Love and a slow blues.  I always prefer hearing tonal characteristics first, whereas so many players immediately play fast scales up and down, play altissimo notes until my ears ring and split and never really spend the time to hear the more subtle aspects of the horn.  I was truly blown away by what I was hearing.  Yamaha states in their catalog that these horns have a bright tone, and in a way they do, but this had a tonal richness and depth I never recall in the 23's and 26's.  The low notes down to Bb spoke easily, and for a student is one of the more difficult aspects of playing to get right.  Then I did some quick playing of various scales and chord sequences and true to form, keys snapped in place and the response was sure and intonation on target.  No flubbed notes because of loose keywork.  I even played one of my favorite classical pieces for the sax, The Old Castle from Pictures At An Exhibition by Mussorgsky, and even though I was using a Meyer with a synthetic reed, still got that smooth classical tone from it.  I switched to the tenor and again, great keywork, great mechanics, great tone. Again, when I played the tenor part to Ravel's Bolero, even with a jazz mouthpiece, still got a smooth classical tone from it.  Here are student horns that have a versatility along with a quality that really no other saxophone in their class can match.  Here is another thing that makes these saxophones really stand out.  Since these saxophones are made with the usual Yamaha build quality, reliability and durability as they always have, but now their appearance, their improved keywork with the addition of the F# key, as well as their tone,  can also be used by professionals as a back up horn, and even as their main horn, they are that good.  As for the students, they can now have a sax that can take them from their first baby steps to even a professional level if they go that far, without having to invest in a more expensive horn later if they choose.  

BOTTOM LINE

With the 280 series, Yamaha has raised the bar on student saxophones head and shoulders above the rest of the field.  While they are more expensive than other student horns, the advantages are again, build quality, reliability and durability and the best resale value of any student saxophone.  Also, as I said before, these saxophones are also very capable of being played professionally as well.  I rate this as not just a great saxophone on its own, but hands down the best student saxophone, period!

For more information I include the link to a PDF of their European/Japanese catalog.  It's too bad that it's not available in the US, but then many of my readers live in countries where this model is available, so if you have a chance, you need to check them out.  As for my readers in the US and Canada, if this model interests you, you can go to Sax Co. UK and they ship internationally.

https://usa.yamaha.com/files/download/brochure/7/1152257/W252R3_saxophones_eu.pdf

https://www.sax.co.uk/

Selmer Announces Significant Price Reductions

Selmer Conn has recently announced significant price reductions on several Selmer Paris models.  It seems that they finally realized that they were pricing themselves out of the market.  The majority of saxophone players, as well as all other musicians on all instruments are mostly semi-professional, students or hobby players.  The saxophone market is very tight, and with all the top quality saxophones on the market at significantly lower prices, it is a wise move on their part, giving them the chance to reconnect with players who always wanted a Selmer but could never afford one.  For more information, visit the Conn Selmer website

https://www.conn-selmer.com/en-us/instruments/band-instruments/saxophones

Here is a short video about it

https://www.youtube.com/watch?v=hd4xk0cVAvU

Happy New Year!!

I have been away for a while dealing with personal family issues and planning a move out of country.  I want to wish all my readers the happiest for the new year and hope that all your dreams are realized.  I will be preparing some more articles for the future once I can resolve some of my more pressing personal issues.  Thank you everyone who have found this blog helpful and informative and I will try and be back soon  Thanks to all of you for your support.

Happy Valentine's Day!

Trolls

Yesterday I was reviewing the various comments I received over the last 10 months.  All but one were positive or helpful.  I came across one however that was obviously from some frustrated troll, possibly even a bratty 14 year old who sits in front of his computer when he isn't falling asleep in school.  I stated on the very first post I made when I began this blog,  that I would welcome any positive criticisms, or stand corrected if I make an error in regard to the facts.  I always try to do the best research I can, but from time to time I can miss something.  However, I will delete any comment that flames me personally or anyone else who makes a comment.  I review my comments before publishing them and delete the flamers and trolls.  I don't get them very much, but I don't stand for them.

I deleted the comment from this troll, but now I wished I published it just so I could answer this person.  I hope you're reading this.  I would love to see your next comment.  The comment read "I see you didn't even put your name on this blog.  Why should I or anyone give a f--k about what you have to say?  What have you done musically?"  There was a little more drivel, but I forgot it.  Then he signed it as anonymous.  There it is.  He comments that I don't put my name on the blog, but he remains anonymous because he's just a troll.

So my answer to him, and to anyone who may echo his sentiments:  You don't have to give a f--k about what I say, any more than I give one about what you say.  What have I done musically?  More than you for sure.  Am I famous?  No. Have I tried to pass myself off as a great musician?  No.  What I have done musically is that I started the saxophone when I was 11, my father giving me my first lessons.  I left it for a while when I and everyone else got caught up in Beatlemania and took up guitars.  By 1970, I came out of that trance and returned to the saxophone. Over the years, in order to improve my playing, I took lessons from working pros like Kirk Feather and Frank Vicari, and from top players like Tim Price and Lee Konitz.  I also mentored a few years with Benny Carter, my idol.  I have played in local groups, nothing big time.  My musical preferences are blues and swing music.  I especially like slow blues and ballads where I can really allow the horn to sing.  This is why players like Benny Carter, Johnny Hodges, and Paul Desmond are among my favorites, as well as Pete Brown, Marshall Royal and Cannonball Adderley, and Ben Webster and Lester Young on tenor.

I worked in music retail for a number of years, managing the woodwind dept. of a large music store.  The best part of my job was getting young people interested and started in music and learning the saxophone.  Although I made my money in selling instruments and accessories, my main goal was to make sure that the customer got the best at what they could afford.  I noticed how many families were strapped for money but wanted their kid to play music or something positive instead of getting mixed up with a bad crowd.  As dept. manager, this gave me the opportunity to look at and try alternatives to the saxophones we were selling.  Our student level horns were cheap in price for sure, affordable to these parents, but were just badly made instruments.  The pro level horns were just too steep for them.  So I spoke to sales reps and received many samples of saxophones that were slightly higher in price to the student horns we had, but much better horns in sound and build quality.  Then I sought the pro level horns that were of a high build quality but were at least half of what the top 4 brands cost.  Top 4 being Selmer, Yamaha, Yanigasawa and Keilwerth.  I tried all the horns I could, so I knew which horns I would recommend and which to avoid,

When I do a review, I get absolutely nothing from the manufacturers for any positive reviews.  I have met Jerome Selmer twice, I am friends with Alex Hsieh of P. Mauriat, Vice President of the Buffet Group, Francois Kloc as well as the staff of the Buffet Showroom in New York. I know some of the best repair techs in New York City and Boston, and also correspond with others in different cities and countries.  In all this, I get absolutely nothing, both financially or in free instruments or services.  I don't know of any manufacturer's who give away any of their instruments, even to endorsers.  That's not how it's done, and those who believe it is know nothing.  Believe me, given my limited income these days, I would love to receive a free instrument or services, but that is not reality.  Regardless what some of you critics think, these companies and people have enough integrity and belief in their product not to have to have a favorable review paid for with some kind of bribe, least of all from someone who is not in the big time.

I have been accused by a few for "being on the payroll" of a particular company because I gave a rave review of the instrument.  One example was when I did a review of 5 Phil Barone saxophones.  The two people who made negative comments assumed I raved about them because I was being paid to do so.  No, I normally rave about an instrument if it 1) is of good build quality and plays and sounds good 2) is at a price point that makes it affordable for beginners, intermediate, amateur and working professionals on a budget.  It just so happened that the Phil Barone horns I played were all of a good quality and played and sounded great.  They had an unbelievable price point for a horn of their quality.  I do not know Phil Barone personally, never met him, never spoke to him on the phone, and never received a reply to the one email I sent him.  Maybe the two comments were based on negative experiences or opinions about Phil Barone.  I was not reviewing the man, just the saxes, and they were what I said they were as far as I was concerned.

I started this blog because I love the saxophone. Since it is MY blog, I will write my opinions about things.  No one else needs to agree with them, and my opinions are not more correct than your opinions.  Of course, when it comes to actual facts, that's a different story.  Facts are facts.  Of course, sometimes I do get some things wrong, perhaps an error in my source material, but then there's always someone out there who corrects it.  I always appreciate it when they do, and usually, those that do also do so respectfully.  If you want to flame me, then so long sucker.

The blog is my labor of love for an instrument I love.  It is not the be all and end all of saxophone blogs, just my contribution to the saxophone world.  I am pleased that I have literally hundreds and thousands of readers throughout the world, and that very often, a reference to this blog can be found on the first page of many Google searches.

So to my troll.  That's what I've done musically.  What the f--k have you done?

Hello Friends, I Am Back Again

It's been a long time friends, and I am back to say that I will be posting more articles soon. I have taken care of various health issues, as well as getting a new computer, so I am getting back into the game.  To all of you who have read my articles and have followed me, I want to say thank you for your support. Look out for upcoming articles.

PlayWind by Buffet Crampon

A new resource for saxophone students, as well as other wind players is the PlayWind Website and App by Buffet Crampon.  You can get lessons and pointers that range from beginners to advanced, and it's all FREE!  You can also download the app to your phone or tablet so you can take them anywhere.  Here's the link to the website.

http://www.playwind.com/

Along with other free sites that teach saxophone this is a welcome addition, and so anyone can learn saxophone even if you don't have any qualified teachers where you live. 

Legere Signature Reeds: A Review

Back when I was still working in music retail, one of the perks of the job was getting samples of new saxophone accessories from the sales reps that came into the store, usually because the reps wanted me and the other employees to assess the merchandise and provide feedback on what we thought of the product.  One day the sales rep from Legere Reeds was in the store and offered me a sample of their new Signature reed, which wasn't yet released on the market but was about to be.

In the past, I had tried various other synthetic reeds, at first, because I didn't want to wear out my good reeds from extended practicing, and also because I wanted to find a synthetic reed that was more consistent than cane and yet still had a warm center to the tone and would last longer than cane.  The very first synthetic reed I tried was a BARI.  Next was Fibracell, then Fiberreed, and even Rico Plasticover, which is a cane reed with, as the name implies, a plastic coating.  However, I found that it wore out as fast as a regular reed, and the other thing I didn't like was that the coating would flake off.  I didn't like the idea of ingesting plastic flakes.  I finally tried Legere reeds, and while I did like them, I found them better for keeping for practice so I could save my cane reeds for playing.  I still was looking for a synthetic reed that could still give me the tone I got from cane and could play at a gig but wouldn't wear out quickly. 

I normally play a 2.5 reed with my Meyer 6M mouthpiece, but I found that with the other synthetic reeds, the strength indicated on the reeds were not matching with the equivalent cane reed.  For cane, I used either a Vandoren 2.5 Java reed green box, or LaVoz medium.  With LaVoz, I found the medium would fall within the 2.5 to 3 range.  I like a softer reed, but not too soft, for a good combination of a warm tone and flexibility.  Most of what I play is retro, mostly big band swing and standards.  When I play big band, my tone shows a Benny Carter and Johnny Hodges influence.  When I do a small groups like a quartet, I tend to have a more Paul Desmond influence.  So I wanted a synthetic reed that could get the kind of warm tones these players did, and so far none of the synthetic reeds I had tried gave me that.

So, on the day the sales rep from Legere offered me a sample of their new Signature reed, I didn't hesitate to take one.  I took a 2.5, because he assured me that they matched in strength to cane.  I wasn't going to take his word for it so I immediately put it on my mouthpiece and grabbed a P. Mauriat 67R alto off the wall and strapped it on, put the mouthpiece on and started playing.  Well, I was really happy with what was coming out the horn.  The sound was warm, but a tad brighter than the cane reeds I used, but that was a good thing in this case, because it wasn't thinner tone, but more like a cleaned up tone.  I still had the darkness I like, but without the muddiness.  To be sure, I also tried it on other brands of horns; a Yamaha EX-875, a Buffet 400, a Selmer Series II and III, and Reference 54, a Cannonball Brute.  It played equally well and with clarity of tone on all the horns.  I was really happy with this, and this reed became my preferred reed for practice and gigging.  The tone was consistent and the reed allowed me to be flexible with it, none of the stiffness I found with the other reeds.  Altissimo was easy, and I could play softly with warm subtones, or push it without the harsh edginess I would hear in the other reeds.

This was in 2010, and I didn't have to replace the reed until two years later, and since then, have only had to buy a total of 4 reeds.  Three that I played consistently and one that I always keep in reserve just in case.  If you're a player that has also been looking for a synthetic reed that is consistent in tone but is flexible enough to adapt to your particular sound and style, this is the reed I highly recommend. 

http://www.legere.com/saxophone-reeds

The Evolution Of Saxophone Doubling

Still dealing with various personal and financial issues right now so I am not finding the time for writing my own articles or going out and play testing different saxophones.  However, I did come upon this article and it is very informative, so I thought I would share it with all of you.

http://www.local802afm.org/2016/12/the-evolution-of-doubling/

Setting Something Straight

I have been dealing with some health issues lately and so haven't been playing or looking at any new or vintage horns lately.  However, not too long ago, someone commented on a review that I did for the Phil Barone Saxophones "I was looking for a serious review of these horns. Sounds like you got one free or are best friends with Phil. Too bad. I just want an honest hard review."

I've stated this before, and I will say it again.  I have played the saxophone for most of my life.  I have worked in music retail, have learned a lot of information from my trusted old tech and the other techs I come into contact with.  I look up information on saxophones all the time.  I write the various manufacturers building horns today, and I research all the information I can about vintage horns.  That goes with what I had already learned from my father and other players when I was young.

While I hardly consider myself a great player, I still love to play and the saxophone always will be my main instrument of choice.  I started this blog because I also enjoy discussing my favorite instrument, and the greats who have played and play them now.  I do not consider myself an "expert", especially because I am not a technician, and only know how to do the most basic adjustments to the horn.  However, I still have done my research, and when I write something, I try to make sure my facts are straight.

When it comes to reviewing a saxophone, one thing really needs to be made clear.  I do not ever receive any free instruments or products.  All of my reviews are based on my having handled them and playing them.  There are other reviews on the web where they get into a detailed discussions about mechanics, how it performed when they played this scale and this key, how their mouthpiece affected its sound, etc.  All of the saxophones I've played for review were either in the shop when I worked in music retail, or belonged to friends of mine who allowed me to try out their saxophones.

 My reviews are based on a very simple criteria.   The first consideration is always the sound.  Then there is build quality.  Is it solidly put together, are keys and posts properly aligned and nothing loose or rattling because of poor workmanship or QC, are there solder blobs visible anywhere?  Is the lacquer evenly applied?  As far as mechanics go, how it plays is not only determined by its design and materials used, but in a large part to how a technician, both at the factory and in a private shop, adjusts and regulates the action.  I have always suggested that no matter how well a saxophone plays out of the box, it's always a good idea to have tech go over it.  I found that even vintage saxophones, with their very different ergonomics play smoothly and in tune when a tech who knows what they're doing has worked on them.

When I do a review, I make it short and simple.  The fact is, most of my readers are not professionals, or are semi-professionals who hold day jobs and play their instruments on weekends at local bars or clubs, and the articles that get the most hits are the ones discussing beginner or intermediate saxophones, or pro saxophones on a budget.  The questions I get from them are usually in regard to what choices to make in buying their first or step up horn.  The choices today are greater than ever before, and it's confusing for many novice players.  I try and help with these reviews, not confusing anyone with long technical details, but with getting right to the point about how the sax sounds, feels and responds.  I try to lead them to their best choices based on my own experience with these horns.  It's the only way I know how.

When I worked in music retail, I was able to play and evaluate saxophones from the top professional brands to the no name horns.  Most of my readers are not professionals, and most of them cannot afford 6 grand or more for a saxophone, yet still want a quality instrument.  There is no question that if you buy a Selmer, Yamaha, Keilwerth or Yanigasawa, you're getting a top quality instrument, and also no question that in most cases, you're going to spend a small fortune on it.  Other brands have come out that can now offer professional level sound and build quality at a fraction of the price of the Big 4.  Yamaha and Selmer are also building instruments catering to the beginner and experienced student, so this is a very important part of the market.

Again, when I find saxophones that are of a professional build quality and sound, but are comparably cheaper than a more famous name, I will rave about it.  I get nothing for it from the manufacturers.  Nothing.

Anyway, once I resolve, if I can, any of my health issues, then I will get back to going out and looking at and playing more saxophones and then posting my reviews here the same manner I always have.

I'll be back!!!

Happy Birthday Adolphe Sax

This post will be brief today, but important to all saxophone players.  Today is the 202nd birthday of Adolphe Sax, the inventor of the saxophone.  I won't bother to go into its history as it's already well known, but I can't let this day pass without acknowledging the man who created our favorite instrument.  Happy Birthday Adolphe!!  There must be one hell of a jam session going on where you are right now.

Adolphe Sax's statue in his hometown of Dinant, Belgium

Chris Potter playing am original Adolphe Sax tenor, ca. 1859

https://www.youtube.com/watch?v=7YOV0kZQIAo&feature=share

My Approved List Of Student Saxophones

The summer is now over and I am back after taking some time off to enjoy some time away.  I hope everyone else had a good summer as well.  

The most frequently asked questions I get from readers of my blog are usually from beginners wanting to know "if so and so or such and such saxophones are any good,  they were advertised on eBay or I saw one in my local music store and the price was right", etc.  If you look through eBay's listings, you'll see a glut of saxophones with lots of different names, and very often, they don't even give you a name, just advertise it as "gold lacquer alto, tenor saxophone", etc., You look at the price, it looks good, and you may think, it's cheap enough and it looks good in all the pictures, so I'll get this for my kid or for myself because it's good enough to learn on.  Most beginners really don't know that much about saxophones when they're starting out, and to see so many "names" and types being sold new and used all over the internet can be confusing.  This often leads to sometimes being ripped-off by a shady dealer, or in most cases buying an inferior instrument that is badly constructed, has shoddy keywork, simply won't play in tune no matter what you do.  When a beginner's parents or the beginner themselves buy that kind of horn, because it's cheap and it's "good enough to learn on", they end up frustrated and think that they are not any good, not considering that it's the saxophone itself that keeps the beginner from making any progress.

Though I have written blog posts on beginning and intermediate before, I want to update and expand on it for beginners so that hopefully any questions that I have been and will be asked can be answered.  Hopefully, the information you get here will help you select the best saxophone for you to learn on.  When you are starting out, regardless of whether you are a child or adult, it's important that you get all the information that you can and spend your money wisely, so that you can spend the rest of your time learning and making music.

First, let me give you a run down on all the real name brands on the market.  Many of the questions I get are often "is "this" or "that" saxophone any good?", and the fact is I never heard of it, because it's either just another Chinese sax dumped on the market, or possibly a store or proprietary brand, meaning that a music store or perhaps a repair tech contracts a company, usually located in China or Taiwan, to make saxophones with their name stamped on it.  It's a common practice which is also known as stenciling and has been done for many years.  I will get to these a little later in the article.

I want to start out with brands that have earned a reputation for making fine quality saxophones, whether for the professional or the student.  Some of the brands listed are fairly new, but have already marketed saxophones that have earned a good reputation for quality and sound.  Others have been with us for a long time and have been so because of the fact that they have been consistently making saxophones of the highest quality.  All but two of the manufacturers I will list make a full line of saxophones from student to professional, and these are the brands you should always consider first before plunking down your hard-earned money.  Okay, here are the names you should know.

Selmer: The most famous name in saxophones, and most famous for their professional saxophones, they also make, through their various subsidiaries, intermediate and student saxophones.  

http://www.selmer.fr/ 

Conn: Conn was at one time one of the greatest names in saxophones, but after WWII, the fortunes of the company declined as well as their quality.  Eventually it came under the Selmer umbrella and is now known as Conn-Selmer, and they make a line of student level saxophones.

http://www.conn-selmer.com/en-us/ 

Yamaha:  Yamaha makes some of the best saxophones in the world, student and professional, and the 23, which is now the 26, is probably the highest quality student saxophone on the market, as well as the best selling one.  

http://usa.yamaha.com/products/musical-instruments/winds/sax/ 

Keilwerth: Keilwerth, based in Germany, has been making top quality professional saxophones for many years. They were recently acquired by the Buffet Group.

http://www.julius-keilwerth.com/en 

Buffet: Although more famous for their clarinets, they have been building saxophones longer than any other manufacturer on this list.  They built their first saxophone only 20 years after Adolphe Sax invented it.  While their saxophones have never been as popular as Selmer or the other brands, they have always been of the highest quality, and it's possible to get used Buffet saxophones like the Dynaction, Super Dynaction, S1 and Prestige saxophones, all high quality professional horns at a good price. 

http://www.buffet-crampon.com/en/ 

Yanigasawa:  Yanigasawa builds some of the best saxophones in the world today.  

http://yanagisawasaxophones.com/ 

P. Mauriat:  A relative newcomer to this group, P. Mauriat, based in Taiwan, quickly became a major player with their line of quality professional saxophones, and their horns are being played by many top professionals.

http://www.pmauriatmusic.com/ 

Antigua:  Based in Texas, their saxophones are made in Taiwan.  They were mostly known for making good quality student and semi-pro saxophones which were also widely used by high school and university bands, but with their ProOne model designed by Peter Ponzol, have entered the high end professional market. 

http://usa.antiguawinds.com/index.aspx 

Cannonball:  Based in Salt Lake City Utah, started by Tevis and Cheryl Lauket, their saxophones are made in Taiwan and they make a full range of high quality mostly professional saxophones, but also have a student line.

http://www.cannonballmusic.com/ 

 Chateau: The newest name on this list, their professional and semi-pro horns are already getting a lot of attention for their high quality, great sound and price point.  Made in Taiwan, their parent company Tenon, also makes Steve Goodson's line of top quality professional saxophones. 

http://www.chateaumusicusa.com/ 

Jupiter:  Based in Taiwan, Jupiter acquired a good reputation for building good quality student and semi-pro saxophones, and have also entered the professional market.  Their saxophones were widely used by many high school and university bands.

http://www.jupiter.info/en/saxophone-gesamtuebersicht/alt-gesamtuebersicht.html

Proprietary brands are instruments made by a manufacturers, usually in Taiwan or China, for a retail store, repair shop or mail order/internet dealers with either the dealer's name or a "brand" name which is exclusive to that business.  Usually large retail stores will create a store brand in order to offer a cheaper option for students and players on a budget.  This works if the business in question has an on-site repair department that can adjust the horns before they go out, and also maintain them after they are purchased.  It's important that the store or service you buy your saxophone from can back their instruments with a good return policy and warranty that covers repairs at least in the first few months.  If the store has repair facilities, even if you buy some cheap Chinese horn, at least they can service it.  If the shop doesn't have facilities, and something goes wrong with it after the return period has expired, and you can be sure something will go wrong, and that bargain you bought won't be such a bargain.  Before you buy, make sure of all these things before you lay down any money.  As far as buying from a private seller, you always take risks, as you have no guarantees and the horn may not even be in playing condition.  My advice is always buy from a reputable dealer with a repair department, unless you know this person really well. If you don't, you will be losing, not saving money.  I would also stay away from eBay for buying a student horn, unless it's being sold by a reputable dealer that will back it up. 

Now I will go into the brands and models of student instruments that I recommend.  If it's not on this list, I never heard of it, and chances are neither has anyone else.  Just stay away from them no matter how attractive the price.

I haven't discussed renting an instrument because in most cases, rental instruments are no name, or older name brands that have never been properly taken care of, abused, and in general not very good shape.  Again, if you decide to go the rental route, just be sure that the place you rent it from has a repair department.  If the horn is not properly maintained, that will lead to the kind of frustration that can cause someone to quit.  

My personal list of the best student saxophones 

Hands down, the top student saxophone is the Yamaha YAS and YTS 26.  It is also the priciest, but for good reason.  It is solidly built, and has the best resale value of any student horn.  You may eve be able to find used 23's, the 26's predecessor in good playing condition at a great price.  The 26 is also available as a tenor.

 Yamaha YAS-26

If there is any drawback to this model, it's a minor one.  It doesn't come with a high F# key, where other student models do.  However, its solid construction and reliability negates that.

The Cannonball Alcazar is a well made student saxophone that has the look of an intermediate horn.  It gas a high F# key and has a balanced tone

Cannonball Alcazar

Antigua Winds began by offering a wide range of instruments for students and have been used by many high school and university bands.  Though they have graduated to building high quality professional saxophones, they still produce excellent entry level horns.  The AS and TS 3100 saxophones have a range up to F# and a well balanced tone.  

Antigua AS3100

Though Selmer is most famous for its high end professional saxophones, they offer several lines of student and intermediate saxophones.  The Prelude AS711 is a good beginner saxophone, having all the features of a Selmer saxophone.  Range to high F#, also available as a tenor. They also have a 400 and 500 student line, but I have found them to be rather flimsy.  The AS711 and the TS711 are much better choices.  I had a TS711 at one time, and after being properly adjusted by my tech, was used for some of my gigs where I needed a tenor.  It did the job just fine. 

Selmer Prelude AS711

You have already read my reviews of the Buffet 400, and I highly recommend them as an entry level pro model.  However, Buffet also has a good quality student model, the 100, available as alto and tenor.  It looks very similar to the 400, but less engraving, single arms on the lower keys instead of the double arms, and available only in gold lacquer.  Range up to high F#.  

Buffet 100 Alto Sax

Jupiter began by marketing high quality student and intermediate saxophones that were widely used by high school and university bands long before they entered the pro market.  The JAS 1100 alto and the JTL 1100 tenor are their student saxophones, and are worthy of consideration.  

Jupiter JAS 1100 Alto Sax

The P. Mauriat PMSA-57GC alto saxophone is listed on their website as an intermediate step up horn, but its price point is below that of a Yamaha 26, which makes it worth considering.  

 P. Mauriat PMSA-57GC Alto Sax

Chateau is the newest kid on the block, but already their professional and semi-pro saxophones are getting positive reviews.  Based in Taiwan, their parent company Tenon, also makes high end professional saxophones for Steve Goodson's Saxgourmet line.  The Chateau VCH-222 is their student sax, and it is as solidly built as their professional saxophones.  The light rose brass finish indicates that it has a higher copper content, which gives the sax a richer more complex tone, and is unheard of for a student sax and at this price point.  It also makes a great back up horn for a professional.

Chateau VCH-222 Alto Sax

Keilwerth and Yanigasawa at this time are only making high end professional saxophones, and even used models command a high price.  However, sometimes a bargain is out there, so you should always be on the lookout.  

When you go to the websites of the larger retail stores, you will often see their "specials", store brand saxophones on sale as a more affordable option from the name brands.  However, the quality of these horns are always inconsistent and more often very questionable.  

Jean Baptiste is the store brand for Sam Ash, and the consistency of quality of these saxophones vary from one horn to the next.  They are made in different factories in Asia, either China or Vietnam.  Their JB290AL saxophone however is a good beginner saxophone and is inexpensive as saxophones go.  The plus side, Sam Ash has a liberal return policy, warranties and repair shops to back the horns.  The down side, if you live near a Sam Ash it may not have an in house repair shop and they have to send the saxophones out to another store that does, and that always takes time.  If you order from the internet, you know the whole thing of having to pack it and ship either to return or repair it and it takes even more time. Regardless, it's better than buying a saxophone that isn't backed by anything.

http://www.samash.com/saxophones/#beginIndex:0,currentPage:0

You may not live near a music store and so you may have to rely on the internet.  Here are some online shops that you can look into, in the US and abroad.  This is a fairly comprehensive list of links, and I highly recommend doing some research, check prices and services, and even contact them and ask questions. 

https://www.saxquest.com/

http://www.wwbw.com/

http://www.musiciansfriend.com/

http://www.philbarone.com/

http://www.rayburnmusic.com/

 http://www.saxalley.com/

http://www.wichitaband.com/

http://www.prowinds.com/prowinds_web_2000/

http://www.chucklevins.com/

https://www.kesslerandsons.com/

http://www.bandandorch.com/

http://www.unionmusiccompany.com/

http://www.internationalwoodwind.com/

http://www.tenormadness.com/

http://saxforte.com/

http://www.davewilsonmusic.org/

http://www.pmwoodwind.com/

http://www.dominicsmusic.com/

http://www.sax.co.uk/

http://www.saxophoneheaven.com/

http://temby.com/

http://amsterdamwinds.nl/

http://www.saxesandmore.de/

http://www.tomleemusic.com.hk/home.php

http://www.luckymusic.co.th/

http://www.wood-stone.jp/

http://www.ishibashi.co.jp/u_box/e/eubox.php?or8=46&T=gazo

http://www.ikebe-gakki.com/tax-free/index.html 


Many smaller mom and pop or local music stores will sell or rent cheap Chinese made saxophones for students.  However, be warned, if they do not have a repair shop on premises, when something goes wrong with the horn, you're screwed, unless you already know a repair tech.  If you rent or buy the horn, it may not be in real playing condition and it can lead to frustration, where you may think it's you, but it's the instrument, and then quit before you give yourself a chance.  So always make sure the place you buy or rent from can back up the horn.

So there is my list of approved saxophones for beginners.  Anything not on this list that you buy or rent you do so at your own risk.  Remember, it's not a bargain if it can't play in tune and is poorly constructed.